the graduate screenplay by buck henry - raindance.org · 2. 7 ext. podium of amphitheatre - day 7...

"THE GRADUATE"

Screenplay

by

Buck Henry

Property of:Lawrence Turman, Inc.Mike Nichols 5451 Marathon St.HOLLYWOOD, CALIFORNIA

Prod. No. 20055FINAL DRAFTMarch 29, 1967

FADE IN:

1 1EXT. AMPHITHEATRE - DAY

2 2SHOT - HELICOPTER'S POV -

Moving through clouds. The clouds separate and, far below,we can see a giant outdoor amphitheatre. There is no SOUNDbut the WIND.

As we move closer to the amphitheatre, we can hear SNATCHESOF WORDS and PHRASES as though from a public address system.

3 3EXT. AMPHITHEATRE - PODIUM - DAY - SHOT OF BEN

in cap and gown, standing in front of a microphone. TheWIND is BLOWING. He has to hold on to the papers from whichhe is reading.

4 4EXT. AMPHITHEATRE - SHOT OF AUDIENCE - DAY

Thousands of expressionless STUDENTS are sitting there.

5 5EXT. AMPHITHEATRE - SHOT OF PODIUM - DAY

BEN- and today it is right that weshould ask ourselves the one mostimportant question: What is thepurpose of these years, the purposefor all this demanding work, thepurpose for the sacrifices made thosewho love us? Were there NOT apurpose, then all of these past yearsof struggle, of fierce competitionand of uncompromising ambition wouldbe meaningless. But, of course,there is a purpose and I must tellit to you. I ask you to rememberthis purpose always and I pledgethat I shall endeavor to carry itwith me forever.

6 6SHOT - AMPHITHEATRE AUDIENCE - DAY

staring at him impassively.

INTERCUT BETWEEN SHOTS

of impassive students, seated, watching; of Ben standingalone on the huge amphitheatre stage; of CLOSEUPS of Benspeaking; of loudspeakers; of wind-blown papers on the podium.

2.

7 7EXT. PODIUM OF AMPHITHEATRE - DAY

BEN(continuing)

The purpose, my fellow graduates -the purpose is -

He stops, trying to think of the word.

8 8CLOSEUP - BEN

He begins to sweat.

9 9SHOT - AMPHITHEATRE AUDIENCE

watching.

10 10SHOT - PODIUM of AMPHITHEATRE Ben's hands searching throughthe pages of his speech.

The pages begin to blow away in the wind.

11 11SHOT - AMPHITHEATRE AUDIENCE - DAY

staring.

12 12SHOT - PODIUM OF AMPHITHEATRE - DAY

BEN- there is a reason, my friends,and the reason is -

13 13CLOSEUP - BEN

He is in a panic. He looks up from his papers at theaudience.

14 14SHOT - AMPHITHEATRE - DAY

The audience is gone.

15 15SHOT - PODIUM OF AMPHITHEATRE - DAY

BENthe reason is - the purpose is -

SOUND of the WIND becoming the ROAR of an AIRCRAFT coming atus through the air.

16 16SHOT - AMPHITHEATRE - DAY

Huge and empty. SOUND of AIRCRAFT.

(CONTINUED)

3.

16 CONTINUED: 16

CAPTAIN'S VOICELadies and gentlemen, we are aboutto begin our descent into Los Angeles -

SOUND of a SONIC BOOM.

CUT TO:

17 17INT. PLANE - CLOSEUP - BEN - NIGHT

His eyes open suddenly.

CAPTAIN'S VOICEThe sound you have just heard is thelanding gear locking into place. The Los Angeles weather is clear andthe temperature is a pleasant 72. We do not expect any traffic delayand will make our four hour andeighteen minute flight plan smack onthe nose. We enjoyed having you onboard and look forward to seeing youagain in the near future.

18 18SHOT

PULL BACK SLOWLY from a CLOSEUP of a television screen withsnow on it to reveal a long row of television sets along theceiling of the aircraft. There is snow on all of them.

19 19REVERSE ANGLE

PULL BACK from the CLOSEUP of Ben to reveal a row ofpassengers staring straight ahead, their headsets on. Benturns and looks out the window.

20 20EXT. LOS ANGELES - FROM THE AIR - NIGHT

Los Angeles, at night, its lights stretching endlessly inevery direction.

SOUND - MUZAC and the STEWARDESS' LANDING SPEECH.

START OF MAIN TITLES

UNDER TITLES:

STEWARDESS' VOICELadies and gentlemen please fastenyour seat belts in preparation forthe landing and observe the no smokingsign.

(MORE)

(CONTINUED)

4.

20 CONTINUED: 20

STEWARDESS' VOICE (CONT'D)After we land, you will notice anincrease in the sound level as thethrust of the engines is reversed tohelp reduce forward speed.

21 21INT. AIRPORT - MOVING SIDEWALK - NIGHT

Ben and the other passengers on the automatic sidewalk.

MAN'S VOICEYour attention, please! AmericanAirlines Flight Number 4, 21 Clubservice, non-stop to New York is nowleaving from Gate Number 40. Allaboard, please.

22-27 OMITTED

28 28INT. BEN'S ROOM - NIGHT - CLOSEUP - BEN

His eyes are open and he is trying to remember something.

There are the SOUNDS of many people TALKING and LAUGHING inother rooms. A RADIO nearby PLAYS MUSIC. After a while,there is the SOUND of a DOOR OPENING. The SOUNDS of thepeople TALKING are lower. MRS. TERHUNE'S voice can be heardamong them.

MRS. TERHUNE'S VOICE-- associate editor of the collegenewspaper in his junior year -managing editor in his senioryear -

The SOUND of the DOOR CLOSING. Mrs. Terhune's VOICE and theVOICES of the other guests FADE DOWN. Mrs. Terhune's VOICEcan be HEARD with varying clarity through the remainder ofthe sequence.

After a few moments, there is the SOUND of a LIGHT SWITCHbeing SNAPPED and light, as though from an overhead fixture,falls across BEN's face. He does not move.

After a few moments, there is the SOUND of the RADIO beingSNAPPED OFF.

MR. BRADDOCK'S VOICEWhat's the matter?

Ben's mouth opens a little bit and closes again.

(CONTINUED)

5.

28 CONTINUED: 28

MR. BRADDOCK'S VOICEThe guests are all downstairs, Ben. They're all waiting to see you.

BENLook, Dad - could you explain tothem that I have to be alone for awhile?

MR. BRADDOCK'S VOICEThese are all our good friends, Ben. Most of them have known you since -well - practically since you wereborn.

Ben has not moved. Now the bed on which he is lying movesas though someone has sat down upon it next to him.

MR. BRADDOCK'S VOICEWhat is it, Ben?

The CAMERA BEGINS TO PULL BACK SLOWLY.

BENI'm just -

MR. BRADDOCK- worried?

BENWell -

MR. BRADDOCKAbout what?

BENI guess - about my future.

MR. BRADDOCKWhat about it?

BENDon't know. I want it to be -

MR. BRADDOCKTo be what?

BEN(quietly)

Different.

As Ben says this, the door to the bedroom opens and MRS.BRADDOCK looks in.

(CONTINUED)

6.

28 CONTINUED: (2) 28

MRS. BRADDOCKIs anything wrong?

MR. BRADDOCKNo! No - we're just on our waydownstairs!

Mr. Braddock gets off the bed and goes to a chair and picksup Ben's jacket which is lying across it.

MRS. BRADDOCKThe Carlsons' are here.

MR. BRADDOCK(to Mrs. Braddock)

They are?(to Ben)

Come on.

Mr. Braddock puts the jacket on Ben.

MRS. BRADDOCKThey came all the way from Tarzana.

MR. BRADDOCKIt's a wonderful thing to have somany devoted friends.

They move out of the door, Mr. Braddock steering Ben.

29 29INT. HALLS AND STAIRWAY - NIGHT

PHIL and MIMI CARLSON are coming up the stairs as theBraddocks are moving down.

MR. CARLSONHey - there's our award winningscholar.

MRS. CARLSONWe're all very proud of you, Ben.

BENThank you, Mrs. Carlson.

MR. CARLSONIs that the new car out there?The little red Wop job?

MR. BRADDOCKThat's Ben's graduation present.

(CONTINUED)

7.

29 CONTINUED: 29

MR. CARLSON(putting his arm acrossBen's shoulder)

Won't have much trouble picking themup in that, will you?

BENSir?

MR. CARLSONThe girls. The chicks. The -The teeny boppers.

MRS. CARLSONI think Ben has gotten beyond theteeny bopper stage - haven't you,Ben?

Mrs. Carlson gives Ben a broad wink. Ben tries to smile andreturn the wink politely.

BENYes, ma'am.

They reach the hall at the bottom of the stairs.

BENExcuse me - I think I'd just like tocheck something onthe car for a minute -

Ben moves to the front door and opens it. MR. LOOMIS stepsinto the house and grabs Ben's hand.

MR. LOOMISHere's the track star himself.How are you, track star?

BENJust fine, Mr. Loomis.

Mr. Loomis closes the door and pushes Ben back down the hall.

MR. LOOMISI want to get a drink and then Iwant to hear all about that thingyou won. That Hopperman award.

BENHelpingham.

(CONTINUED)

8.


MR. LOOMISHelpingham! Right! Now you waitright here.

Mr. Loomis turns and goes into the dining room. Ben movesback to the stairway as THREE LADIES come out of the livingroom. One lady takes Ben's right hand, another lady hisleft, the third fingers the front of his jacket.

LADY 1Ben - we're all so proud of you.

LADY 2Proud, proud, proud, proud, proud.

LADY 3What are you going to do now?

BENI was going to go upstairs for aminute -

LADY 3No - I meant with your future.

LADY 2With your life.

BENWell - that's a little hard to say -

MR. MCQUIRE appears behind Ben.

MR. MCQUIREBen!

BEN(to the ladies)

Excuse me.(he turns around)

MR. MCQUIRE(overwhelmed withpride)

Ben.

BENMr. McQuire.

Mr. McQuire takes Ben's arm and steers him down the halltoward the back of the house and out through the back door.

9.

30 30EXT. BRADDOCK BACKYARD AND POOL AREA - NIGHT

The pool is eerily lit. There are FOUR PEOPLE standing andTALKING, drinks in their hands, at the back of the yard.

MR. MCQUIREBen - I just want to say one word toyou - just one word -

BENYes, sir.

MR. MCQUIREAre you listening?

BENYes I am.

MR. MCQUIRE(gravely)

Plastics.

They look at each other for a moment.

BENExactly how do you mean?

MR. MCQUIREThere is a great future in plastics.Think about it. Will you think aboutit?

BENYes, I will.

MR. MCQUIREOkay. Enough said. That's a deal.

Mr. McQuire turns and walks back into the house. The peopleat the other end of the yard look toward Ben.

WOMAN #1Here he is now. Here's Ben.

BENExcuse me just a minute -

Ben goes into the house through the back door.

10.

31 31EXT. BRADDOCK BACKYARD AND POOL AREA - NIGHT

We can see through the windows of the house, Ben making hisway through people trying to stop him and speak to him as hegoes through rooms, up the stairs and to his room.

SOUND of a door SLAMMING.

32 32INT. - EXT. BEN'S ROOM - NIGHT

Ben stands with his back against the door. The SOUNDS ofthe PARTY downstairs and, as Ben walks across the room to awindow, the SOUND of the WIND.

32A 32ASHOT - LONG SHOT (Location)

Over Ben to pool area and people below. SOUND of the doorOPENING. Ben turns. MRS. ROBINSON enters the room.

MRS. ROBINSONOh. I guess this isn't the bathroom,is it?

BENIt's down the hall.

They stand for a moment, loocking at each other.

MRS. ROBINSONHow are you, Benjamin?

BENFine, thank you. The bathroom isdown at the end of the hall.

Mrs. Robinson moves into the room and sits on the edge ofthe bed.

BENLook, Mrs. Robinson, I don'tmean to be rude but -

Mrs. Robinson takes a cigarette from her purse and lightsit.

MRS. ROBINSONIs there an ashtray in here?

BENNo.

(CONTINUED)

11.

32A CONTINUED: 32A

MRS. ROBINSONOh - I forgot. The track star doesn'tsmoke.

She blows out the match and puts it down carefully on thebedspread. Ben picks up a wastebasket, walks over to thebed, picks up the match and puts it in the wastebasket.

MRS. ROBINSONIs it a girl?

BENIs what a girl?

MRS. ROBINSONWhatever it is you're upset about.

BENOh - no. I'm just sort of disturbedabout things.

MRS. ROBINSONIn general.

BENThat's right.

There is a long pause.

MRS. ROBINSONBenjamin, I want to ask you something.

BENWhat?

MRS. ROBINSONWill you take me home?

BENWhat?

MRS. ROBINSONMy husband took the car. Will youdrive me home?

Ben reaches into his pocket and hands Mrs. Robinson a set ofcar keys.

BENHere - you take it.

Mrs. Robinson looks at him.

(CONTINUED)

12.

32A CONTINUED: (2) 32A

BENDo you know how to work a foreignshift?

Mrs. Robinson shakes her head.

BENYou don't?

MRS. ROBINSONNo.

(there is a pause)

BENLet's go.

She throws the keys to him. He catches them.

CUT TO:

33 33EXT. BRADDOCK HOUSE - NIGHT

SHOOTING THROUGH THE OPEN FRONT DOOR. Mr. Braddock is talkingto the Terhunes at the door. Ben and Mrs.

Robinson come down the hall.

BENDad - Mrs. Robinson needs a ridehome. I'll be right back.

Mr. Braddock pats Ben on the shoulder. Mrs. Robinson iswalking ahead through the front door.

MRS. ROBINSON(as she passes the

CAMERA)Wonderful party.

CUT TO:

34 34OMITTED

35 35EXT. ROBINSON HOUSE - NIGHT

The car comes to a stop in the Robinson driveway. They sitfor a moment.

MRS. ROBINSONThank you.

(CONTINUED)

13.

35 CONTINUED: 35

BENRight.

She doesn't move. Ben gets out and goes around to her sideand opens the door.

MRS. ROBINSONWill you come in, please?

BENWhat?

MRS. ROBINSONI want you to come in till I get thelights on.

BENWhat for?

MRS. ROBINSONBecause I don't feel safe until Iget the lights on.

They move to the door. She takes out her key and opens thedoor.

36 36INT. ROBINSON HALL AND SUNROOM - NIGHT

MRS. ROBINSONWould you mind walking ahead of meto the sun porch. I feel funny aboutcoming into a dark house.

BENBut it's light in there now.

MRS. ROBINSONPlease.

Ben turns and walks down the hall. They enter sunroom.

MRS. ROBINSONWhat do you drink? Bourbon?

BENLook - I drove you home. I was gladto do it. But I have some things onmy mind. Can you understand that?

She nods.

BENAll right then.

(CONTINUED)

14.

36 CONTINUED: 36

MRS. ROBINSONWhat do you drink?

He looks at her.

MRS. ROBINSONBenjamin - I'm sorry to be this way,but I don't want to be alone in thishouse.

BENWhy not?

MRS. ROBINSONPlease wait till my husband getshome.

BENWhen is he coming back?

MRS. ROBINSONI don't know.

She pours herself a drink.

MRS. ROBINSONDrink?

BENNo.

She hands him a drink. There is a pause.

BENAre you always this much afraid ofbeing alone?

MRS. ROBINSONYes.

BENWell, why can't you just lock thedoors and go to bed?

MRS. ROBINSONI'm very nuerotic.

She turns on the phonograph. SOUND of PHONOGRAPH.

MRS. ROBINSONMay I ask you a question?

Ben looks at her.

(CONTINUED)

15.


MRS. ROBINSONWhat do you think of me?

BENWhat do you mean?

MRS. ROBINSONYou've known me nearly all of yourlife. You must have formed someopinion.

BENWell - I've always thoughtthat you were a very - nice -Person.

MRS. ROBINSONDid you know I was an alcoholic?

BENWhat?

MRS. ROBINSONDid you know that?

BENLook - I think I should begoing -

MRS. ROBINSONSit down, Benjamin.

BENMrs. Robinson - if you don't mind mysaying so - this conversation isgetting a little strange. Now I'msure that Mr. Robinson will be hereany minute and -

MRS. ROBINSONNo.

BENWhat?

MRS. ROBINSONMy husband will be back quite late.

They look at each other. Ben is half standing.

MRS. ROBINSONHe should be gone for several hours.

(CONTINUED)

16.


She takes a step toward him. He puts his hand up and retreatsaround the other side of the chair.

BENOh my God.

MRS. ROBINSONPardon?

BENOh no, Mrs. Robinson, oh no.

MRS. ROBINSONWhat's wrong?

BENMrs. Robinson, you didn't -mean you didn't expect -

MRS. ROBINSONWhat?

BENI mean - you didn't really thinkthat I would do something like that.

MRS. ROBINSONLike what?

BENWhat do you think?

MRS. ROBINSONWell I don't know.

BENFor God's sake, Mrs. Robinson, herewe are, you've got me into your house. You give me a drink. You put onmusic, now you start opening up yourpersonal life to me and tell me yourhusband won't be home for hours.

MRS. ROBINSONSo?

BENMrs. Robinson - you are trying toseduce me.

There is a pause. She looks at him.

(CONTINUED)

17.


BEN(weaker)

Aren't you?

MRS. ROBINSONWhy no. I hadn't thought of it.feel rather flattered that you -

BENMrs. Robinson, will you forgive mefor what I just said?

MRS. ROBINSONIt's all right.

BENIt's not all right, it's the worstthing I've ever said to anyone.

MRS. ROBINSONSit down.

BENPlease forgive me. Because I likeyou. I don't think of you that way. But I'm mixed up.

MRS. ROBINSONAll right. Now finish your drink.

BENMrs. Robinson, it makes me sick thatI said that to you.

MRS. ROBINSONWe'll forget it right now.Finish your drink.

BENWhat is wrong with me?

MRS. ROBINSONHave you ever seen Elaine's portrait?

BENHer portrait?

MRS. ROBINSONYes.

BENNo.

(CONTINUED)

18.


MRS. ROBINSONWe had it done last Christmas.Would you like to see it?

BENVery much.

We move with Mrs. Robinson and Ben out of the sunroom, intothe hall, up the stairs and along the hall to the doorway toElaine's room.

37 37INT. ELAINE'S ROOM - NIGHT

Ben moves into the room and looks up at the portrait.

BENElaine certainly is an attractivegirl, isn't she?

In the b.g. Mrs. Robinson watches him.

BEN(looking at theportrait)

I don't remember her as having browneyes.

MRS. ROBINSONBenjamin?

BENYes?

MRS. ROBINSONWill you unzip my dress?

He steps back.

MRS. ROBINSONI think I'll go to bed.

BENOh. Well, goodnight.

MRS. ROBINSONWon't you unzip my dress?

BENI'd rather not, Mrs. Robinson.

MRS. ROBINSONIf you still think I'm tryingto seduce you -

(CONTINUED)

19.

37 CONTINUED: 37

BENNo, I don't. But I just feel a littlefunny.

MRS. ROBINSONBenjamin - you've known me all yourlife.

BENknow that. But I'm -

MRS. ROBINSONCome on.

She turns her back.

MRS. ROBINSONIt's hard for me to reach.

Ben reaches forward and pulls the zipper down.


BENRight.

Ben walks toward the door.

MRS. ROBINSONWhat are you so scared of?

BENI'm not scared, Mrs. Robinson.

MRS. ROBINSONThen why do you keep running away?

BENBecause you're going to bed. I don'tthink I should be up here.

Mrs. Robinson lets her dress fall to the floor.

MRS. ROBINSONHaven't you ever seen anybody in aslip before?

BENYes, I have -

He looks up at the portrait of Elaine.

(CONTINUED)

20.


BENBut I just - Look - what if Mr.Robinson walked in right now?

MRS. ROBINSONWhat if he did?

BENWell, it would look pretty funny,wouldn't it?

MRS. ROBINSONDon't you think he trusts us together?

BENOf course he does. But he might getthe wrong idea. Anyone might.

MRS. ROBINSONI don't see why. I'm twice as oldas you are. How could anyone think -

BENBut they would! Don't you see?

MRS. ROBINSONBenjamin - I'm not trying toseduce you. I wish you'd -

BENI know that. But please, Mrs.Robinson. This is difficult for me.

MRS. ROBINSONWhy is it?

BENBecause I am confused about things. I can't tell what I'm imagining. Ican't tell what's real. I can't -

MRS. ROBINSONWould you like me to seduce you?

BENWhat?

MRS. ROBINSONIs that what you're trying to tellme?

(CONTINUED)

21.


BENI'm going home now. I apologize forwhat I said. I hope you can forgetit. But I'm going home right now.

Benjamin walks out of the door and down the hall. The CAMERAPUSHES with him to the door. We see the entire stairway andpart of the downstairs hall. Ben gets to the stairs andstarts down.

MRS. ROBINSON'S VOICEBENJAMIN?

BENYes.

MRS. ROBINSON'S VOICEWill you bring up my purse beforeyou go?

BENI have to go now. I'm sorry.

Mrs. Robinson walks into the hall. Her back is to us.

She is holding her dress in front of her.

MRS. ROBINSONI really don't want to put this onagain. Won't you bring it up?

BENWhere is it?

MRS. ROBINSONOn that chair in the hall.

She walks out of the shot.

BENMrs. Robinson?

MRS. ROBINSON'S VOICEI'm in the bathroom.

BENWell here's the purse.

MRS. ROBINSON'S VOICECould you bring it up?

BENWell I'll hand it to you.

(CONTINUED)

22.


Ben starts back up the stairs.

BENCome to the railing and I'll hand itup.

MRS. ROBINSON'S VOICEBenjamin - I am getting pretty tiredof all this suspicion. Now if youwon't do me a simple favor I don'tknow what.

Ben appears as he slowly climbs the stairs.

BENI'm putting it on the top step.

MRS. ROBINSON'S VOICEFor God's sake, Benjamin, will youstop acting that way and bring methe purse?

Ben gets to the top of the stairs, and starts slowly downthe hall.

BENI'm putting it here by the door.

MRS. ROBINSON'S VOICEWill you bring it in to me?

BENI'd rather not.

MRS. ROBINSON'S VOICEAll right. Put it in the room wherewe were.

BENRight.


Ben walks quickly into Elaine's room, crosses to the bed andputs the purse down. As he starts to turn back, he looks upat Elaine's portrait. There is a movement reflected in theglass of the portrait. He turns quickly. Mrs. Robinson,naked, is shutting the door to the bedroom behind her.

BENOh God.

She smiles.

(CONTINUED)

23.

38 CONTINUED: 38

BENLet me out.

She turns the lock on the door.

MRS. ROBINSONDon't be nervous.

BENGet away from that door.

MRS. ROBINSONI want to say something first.

BENJesus Christ!

MRS. ROBINSONBenjamin - I want you to know I'mavailable to you. If youwon't sleep with me this time -

BENOh my God.

MRS. ROBINSONIf you won't sleep with me this time,Benjamin, I want you to know you cancall me up any time you want andwe'll make some kind of arrangement.

BENLet me out!

MRS. ROBINSONDo you understand what I said?

BENYes. Yes. Let me out!

MRS. ROBINSONBecause I find you very attractiveand any time -

There is the SOUND of a CAR in the driveway outside.

Ben leaps at the door, pushes Mrs. Robinson aside, struggleswith the door, gets the door open, runs into the hall anddown the stairs.

24.

39 39INT. SUNROOM - NIGHT

Ben rushes into the sunroom and sits down. SOUND of FOOTSTEPSon the driveway outside. Ben jumps up, gets the glass hehad been drinking from and sits down again.

SOUND of the front door OPENING and CLOSING.

MR. ROBINSON'S VOICEIs that Ben's car in front?

BEN(jumping up)

Yes, sir!

FOOTSTEPS approach the sunroom. MR. ROBINSON enters.

BENI drove - I drove Mrs. Robinson home. She wanted me to drive her home so I -I drove her home.

MR. ROBINSONSwell. I appreciate it.

BENShe's upstairs. She wanted me towait down here till you got home.

MR. ROBINSONStanding guard over the old castle,are you?

BENYes, sir.

Mr. Robinson reaches for Ben's glass.

MR. ROBINSONHere. It looks like you need arefill.

BENOh no.

MR. ROBINSONWhat?

BENI've got to go.

(CONTINUED)

25.

39 CONTINUED: 39

MR. ROBINSONIs anything wrong? You look a littleshaken up.

BENNo. No - I'm just - I'm just a littleworried about my future. I'm a littleupset about my future.

Mr. Robinson takes the glass from him.

MR. ROBINSONCome on. Let's have a nightcaptogether.

Mr. Robinson turns his back to Ben to mix the drinks.

Ben takes several deep breaths, straightens his tie and checksto see if his fly is okay. Mr. Robinson turns and bringshim the drink.

BENThank you very much, sir.

MR. ROBINSONBen - how old are you now?

BENTwenty. I'll be twenty-one nextweek.

MR. ROBINSON(taking out a cigarette)

That's a hell of a good age to be.

BENThank you.

MR. ROBINSONI wish I was that age again.Because, Ben -

BENSir?

MR. ROBINSONYou'll never be young again.

BENI know.

MR. ROBINSONBen, can I say something to you?

(CONTINUED)

26.


BENWhat?

MR. ROBINSONHow long have we known each othernow?

Ben shakes his head.

MR. ROBINSONHow long have you and I known eachother? How long have your Dad and Ibeen partners?

BENQuite a while.

MR. ROBINSONI've watched you grow up, Ben.

BENYes, sir.

MR. ROBINSONIn many ways I feel as though youwere my own son.

BENThank you.

MR. ROBINSONSo I hope you won't mind my givingyou a friendly piece of advice.

BENI'd like to hear it.

MR. ROBINSONBen - I think - I think you ought tobe taking it a little easier rightnow than you seem to.

Ben nods.

MR. ROBINSONSow a few wild oats. Take things asthey come. Have a good time withthe girls and so forth.

Mrs. Robinson enters the room. She is now wearing the dressshe wore earlier. Ben starts to get up.

(CONTINUED)

27.


MRS. ROBINSONDon't get up.

Ben sits.

MR. ROBINSONI was just telling Ben here he oughtto sow a few wild oats. Have a goodtime while he can. You think that'ssound advice?

Mrs. Robinson nods.

MRS. ROBINSONYes, I do.

BENI've got to go.

He stands. Mr. Robinson stands up with him.

MR. ROBINSONYou have yourself a few flings thissummer. I bet you're quite a ladies'man.

BENOh no.

MR. ROBINSONWhat? You look like the kind of guythat has to fight them off.

(to Mrs. Robinson)Doesn't he look to you like the kindof guy who has to fight them off?

MRS. ROBINSONYes, he does.

They start out of the sunroom.

40 40INT. ROBINSON HALL - NIGHT

MR. ROBINSONOh say - Elaine gets down fromBerkeley on Saturday.

BENOh yes.

MR. ROBINSONBen - I want you to give her a call.

(CONTINUED)

28.

40 CONTINUED: 40

BENI will.

MR. ROBINSONGreat.

Mr. Robinson opens the front door and Ben goes out.


SHOOTING OVER THE CAR toward the house. Ben comes towardthe car. Mrs. Robinson appears in the doorway; the lightbehind her makes it difficult to see her face.


BENYes.

MRS. ROBINSONThank you for taking me home.

Ben nods.

MRS. ROBINSONI'll see you soon, I hope.

Ben continues to walk toward us.

MR. BRADDOCK'S VOICELadies and gentlemen - yourattention, please - for this after-noon's feature attraction.

CUT TO:

42 42EXT. BRADDOCK BACKYARD AND POOL AREA - DAY

The sun shines brightly. Standing and sitting around thepool are Mr. and Mrs. Braddock, their friends MR. and MRS.ARNOLD, and the Arnold children, PETER and LOUISE, who areeight or nine. Watching from across the fence on one sideof the house: the young girl from next door and her boyfriend. Across the fence on the other side of the house: aquartet of adults, formally dressed as though for a cocktailparty, holding drinks and watching. One of them holds ababy. The Braddocks, the Arnolds and their children aredressed in California Contemporary Sport Style: the adultsin styles infinitely too young for them, the children instyles infinitely too old for them.

(CONTINUED)

29.

42 CONTINUED: 42

Mr. Braddock stands alone at the end of the pool near thehouse. The others are grouped, more or less, at the otherend. Mr. Braddock is hamming it up.

MR. BRADDOCKHey, over there -- I mean you!Your attention please!

Mr. Braddock has moved over by one of the windows of thehouse, the window into the kitchen. He speaks quickly - ina fake sotto voce - towards the window.

MR. BRADDOCKAre you ready in there, featureattraction?

BEN'S VOICECould I speak to you for a second,Dad?

But Mr. Braddock has already moved away from the window andis readdressing his audience.

MR. BRADDOCK- what was I saying?

MRS. ARNOLDFeature attraction.

MR. BRADDOCKRight. Hey - I'm glad to see you'repaying attention. A featureattraction that will be one of themost astounding events ever to takeplace in this particular backyard.

They all laugh and some applaud.

MR. BRADDOCKNow I'm going to ask for a big roundof applause to bring thisboy out here - wait a minute -let me amend that - to bring thisyoung man out here - becausetoday he is twenty-one-years-old -

MR. ARNOLD(his hands like amegaphone)

Let's get on with the show!

(CONTINUED)

30.


MR. BRADDOCKJust hang on a minute becausehave a few words to say -

MR. ARNOLDYou always do.

They laugh; Mrs. Arnold makes a face at Mr. Arnold as hegrinningly acknowledges the reponse to his snappy comeback.

BEN'S VOICEDad - could we just talk about thisfor a second?

MR. BRADDOCKTwenty-one-years-old, ladies andgentlemen; four of those years spentaccomplishing some ratherextraordinary things at one of ournation's leading seats of learning -

MR. ARNOLDBring him out!

PETER AND LOUISEOn with the show! On with the show!

MR. BRADDOCK(to the window)

I can't hold them much longer, Ben. You better get out here.

BEN'S VOICEI'd like to discuss this.

MR. BRADDOCK(to his audience)

This boy - I'm sorry - this youngman - is soon to continue hiseducation as a Frank Halpingham AwardScholar - but before he does -

Mr. Braddock darts back to the window.

MR. BRADDOCKbefore he does -

(to the window)You're disappointing them, Ben.You're disappointing them.

BEN'S VOICEDad - can you listen -

(CONTINUED)

31.


MR. BRADDOCK(meaning it)

I'll give you ten seconds.(back to the people)

He is going to give us a practicaldemonstration of what I feel safe insaying is a pretty exciting birthdaypresent - and it better work or I'mout over two hundred bucks - so let'shear it for -

Mr. Braddock moves to the screen door and pushes it open.

It slams against the wall inside.

MR. BRADDOCK- Benjamin Braddock!

43 43INT. BRADDOCK BREAKFAST KITCHEN - SHOT DOWN THE HALL - DAY

At the back of the hall, inside the house, stands Ben, dressedin a full length skin diver's wet suit, flippers on his feet,the oxygen tank strapped to his back, the mask pushed up hisforehead, the air hose dangling.

He holds a spear gun in his hand.

The people applaud.

44 44OMITTED

45 45EXT BRADDOCK BACKYARD AND POOL AREA - DAY

SHOT - FROM BEN'S POV

The people in the backyard. His father stands just outsidethe screen door.

MR. BRADDOCKFolks - this remarkable young man isgoing to perform for you somespectacular and amazing feats ofdaring in water that is over sixfeet deep -

Ben's arms come into view and pull the mask down.

We are now looking through the mask as we MOVE FORWARD downthe hall. Everything is slightly distorted through the glass. Ben's hand comes up again with the breathing apparatus init.

(CONTINUED)

32.

45 CONTINUED: 45

SOUND: the rythmic PUMPING of air, obliterating the SOUND ofthe people around the pool who seem to be applauding andchattering noiselessly.

We MOVE out of the door and toward the pool. Mr. Braddockis running back and forth, clapping his hands and deliveringhis now soundless pitch.

We MOVE DOWN the steps and into the shallow end of the pool. Mr. Braddock is moving along the side of the pool, motioningtoward us to come down to the deep end. He joins Mr. Arnoldat the far end of the pool. They both begin to motion ustoward them.

We get to the deep end of the pool. Mr. Braddock signals uswith his hand to go under. He kneels down by the edge ofthe pool and reaches out with his hand and pushes us under. He has a big smile.

We SURFACE again and PAN AROUND for a last look. The figures,through the slightly distorted glass of the mask of Mrs.Arnold and Mrs. Braddock, watching and smiling; the neighborson each side of the house, looking over their fences andlaughing and pointing; Mr. Arnold nodding encouragement andtalking; Mr. Braddock on his knees, smiling and trying toreach out far enough to push us under. We GO UNDER and SINKto the bottom of the pool.


OVERHEAD SHOT (HELICOPTER POV)

Looking down on the pool, on Ben's black suited body at thebottom and the people standing around the pool, looking downinto it.

PULL UP AND UP AND UP

Until there are thirty houses below us, with its owners,swimming, playing, eating, cooking, reading, dancing,sunbathing, constructing and gardening around thirty pools.

SOUND of Ben's BREATHING APPARATUS, fading into the SOUND ofthe WIND.

HOLD FOR A FEW SECONDS, THEN:

SOUND of a dime DROPPING into a pay phone and DIALING.

DISSOLVE TO:

33.

47 47INT. TAFT HOTEL LOBBY - NIGHT - CLOSEUP - BEN

In a phone booth. The booth is in the entrance area of thehotel between the lobby and the driveway. Ben holds thereceiver to his ear. SOUND of PHONE RINGING.

MRS. ROBINSON'S VOICEHello.

BENMrs. Robinson - I don't quiteknow how to put this -

MRS. ROBINSON'S VOICEBenjamin?

BENLook - I was thinking about thattime after the party -

MRS. ROBINSON'S VOICEWhere are you?

BEN- and I was wondering if I couldbuy you a drink or something -

MRS. ROBINSON'S VOICEWhere are you?

BENUh - The Taft Hotel.

MRS. ROBINSON'S VOICEDid you get a room?

BENNo. Now I know it's prettylate and if you'd rather -

MRS. ROBINSON'S VOICEGive me an hour.

BENWhat?

MRS. ROBINSON'S VOICEI'll be there in an hour.

SOUND of her HANGING UP. Ben hangs up slowly.

He stands up in the booth, looks around, moves aboutuncomfortably for a few moments, removes his jacket and

(CONTINUED)

34.

47 CONTINUED: 47

carrying it folded across his arm in front of him, leavesthe phone booth and crosses to the doors that lead to themain lobby. As he is about to go in, the doors open and agroup of VERY OLD PEOPLE start coming out, filling the doorwayand moving very slowly, muttering to each other and helpingeach other out of the door and down the steps. Ben holdsone of the doors open for them and stands politely to oneside. As they get through, Ben starts to move inside. Atthat moment, A DOZEN YOUNG PEOPLE, dressed as though for ahigh school dance, push him to one side and move past himinto the lobby. He moves back against the other door, holdingit open and allowing them to go in first. He smiles politelyand they pay no attention to him at all. He follows theminto the lobby. They move toward the front desk and he moveswith them. One of the boys at the front of the group leansin and says something to the CLERK behind the desk.

The clerk points across the lobby and says something to him. There are the SOUNDS of an orchestra PLAYING somewhere. Thegroup of young people passes by the desk and Ben moves inbehind them. He pauses at the desk and looks apprehensivelyat the hundreds of pigeon holes against the wall with theroom numbers painted under them and the keys danglingsuggestively.

ROOM CLERKCan I help you, sir!

BENWhat? Oh - no - I'm just -

He points vaguely in the direction of the other young people.

ROOM CLERKAre you here for an affair, sir?

Terror and disbelief start in Ben's eyes. He looks helplesslyat the clerk.

BENWhat?

ROOM CLERKThe Singleman party, sir?

BENOh - yes. The Singleman party.

ROOM CLERKIt's in the main ballroom.

BENAhh - thank you.

(CONTINUED)

35.


Ben backs off and turns and starts across the lobby.

He puts on his jacket as he goes. He gets to the entranceto the main ballroom. He pauses at the door, looks in.

What he sees: People dancing, talking, sitting, etc.

He turns back toward te lobby. He stops.

What he sees: The room clerk scross the lobby watching him.

Ben flashes a huge smile and points in toward the ballroomas though to express his joy at finding the Singleman affairinside, then turns back and enters the ballroom.

48 48INT. BALLROOM - NIGHT

As Ben steps inside.

VOICEHello.

Ben turns. Four people stand in a row. Official greeters,they are: A MIDDLE-AGED WOMAN, AN OLDER MAN, AN ELDERLYLADY AND A TWELVE-YEAR-OLD BOY, dressed formally and theyare smiling with great determination.

BENHello.

It is the older lady who has said hello.

MRS. SINGLEMANYou must be one of the Porters.

She grasps Ben's hand and shakes it.

BENNo - actually I'm not -

MRS. SINGLEMANI'd like you to know my sister,Miss DeWitte -

MISS DEWITTE, who, from the looks of things, always has beenand always will be, Miss DeWitte, takes Ben's hand.

MISS DEWITTEHow do you do?

BENHow do you do, Miss DeWitte?

(CONTINUED)

36.

48 CONTINUED: 48

MRS. SINGLEMANand my husband, Mr. Singleman -

Ben finds himself shaking the twelve-year-old boy's hand.

BEN(apologetically)

Oh - sorry -

JEFFREY SINGLEMANFine, thank you.

MRS. SINGLEMANThat's Jeffrey, of course.

Ben switches to Mr. Singleman's hand.

BENOf course.

MR. SINGLEMANI didn't get your name, sir.

BENBenjamin Braddock, sir.

Mrs. Singleman looks at the seating list she has been holding.

MRS. SINGLEMANBraddock - Braddock?

BENYes, but I'm afraid -

MRS. SINGLEMANI'll find your table in a moment.Braddock. Not Braniff? We have aBraniff.

BENNo - actually I'm just looking for afriend.

MRS. SINGLEMANI'm afraid I don't understand.

BEN(backing off)

I'm not with your party - I'm sorry.

MRS. SINGLEMANHey - I don't get it.

(CONTINUED)

37.


Ben is backing out.

MISS DEWITTEI've enjoyed meeting you, Mr.Braniff.

MRS. SINGLEMANAngela - please!

Ben backs out of the ballroom.

49 49INT. HOTEL LOBBY - NIGHT

Ben crosses the lobby, passing PEOPLE going in and out ofthe hotel. He stops at the entrance of the Veranda Room:

50 50INT. VERANDA ROOM - NIGHT

This is a large room with a bar and many tables along thewindows that look out over the hotel grounds. It is quitedark and cool inside and there are no more than a dozen peopleseated around.

The CAMERA STAYS at the door as Ben walks into the room andcrosses to the far end where he sits down at the table bythe window.

PUSH IN toward Ben as he sits there. MUZAK is playing.

CUT TO:

51 51ANGLE ON BEN

sitting smoking.

CUT TO:

52 52NEW ANGLE ON BEN

sitting.

CUT TO:

53 53NEW ANGLE ON BEN

sitting drinking.

CUT TO:

54 54ANGLE ON BEN

In the door to the lobby in the b.g. is Mrs. Robinson.

(CONTINUED)

38.

54 CONTINUED: 54

She pauses, looks into the room, sees Ben and starts towardhim. Ben is looking out the window. He does not see herapproach.

MRS. ROBINSONHello, Benjamin.

BENOh. Hello. Hello.

He rises quickly.

MRS. ROBINSONMay I sit down?

BENOf course.

He pulls out a chair, for her.


They sit down.

MRS. ROBINSONHow are you?

BENVery well. Thank you.

Ben tries to smile then looks out the window, then down atthe center of the table.

MRS. ROBINSONMay I have a drink?

BENA drink? Of course.

Ben looks toward a passing WAITER and raises his hand.

The waiter pays no attention. Ben looks back at Mrs.

Robinson apologetically.

BENHe didn't see me.

MRS. ROBINSONWaiter!

(CONTINUED)

39.


For a moment, the noise in the room seems to recede. Thewaiter stops in his tracks, turns toward them. The waitermoves to their table. The noise in the room comes back.

The waiter looks at Mrs. Robinson.

MRS. ROBINSONI will have a martini.

WAITER NO. 1Yes, madam.

The waiter moves away. Ben watches him go.

MRS. ROBINSONYou don't have to be so nervous, youknow.

BENNervous. Well, I am a bit nervous. I mean it's - it's pretty hard to besuave when you're -

He shakes his head.

MRS. ROBINSONDid you get us a room?

BENWhat?

MRS. ROBINSONHave you gotten us a room yet?

BENI haven't. No.

MRS. ROBINSONDo you want to?

BENWell - I don't. I mean I could.Or we could just talk.

MRS. ROBINSONDo you want me to get it?

BENYou? Oh no. No. I'll get it.

MRS. ROBINSONDo you want to get it now?

(CONTINUED)

40.


BENNow?

MRS. ROBINSONYes.

BENWell - I don't know.

MRS. ROBINSONWhy don't you get it.

BENWhy don't I get it? Well -I will then.

(he stands up)If you'll excuse me.

Ben walks out of the Veranda Room and into the lobby.


Ben walks to the front desk and stands there.

ROOM CLERKYes sir?

BENA room. I'd like a room, please.

ROOM CLERKA single room or a double room?

BENA single. Just for myself, please.

ROOM CLERKWill you sign the register, please?

He pushes the card and a pen toward Ben. Ben writes hisname on the card and then stares at it for a moment, crumplesit up and fills out a second card.

ROOM CLERKIs anything wrong, sir?

BENWhat? No. Nothing.

(CONTINUED)

41.

55 CONTINUED: 55

ROOM CLERK(taking a key frombehind the counter)

Do you have any luggage, Mister --(looks at registrationcard)

Gladstone?

BENLuggage? Yes. Yes. I do.

ROOM CLERKWhere is it?

BENWhat?

ROOM CLERKWhere is your luggage?

BENWell it's in the car. It's out inthe car.

ROOM CLERKVery good, sir. I'll have a porterbring it in.

BENOh no.

ROOM CLERKSir?

BENI mean I'd - I'd rather not go tothe trouble of bringing it all in. I just have a toothbrush. I can getit myself. If that's all right.

ROOM CLERKOf course.

Ben reaches for the key.

ROOM CLERKI'll have a porter show you the room.

BENOh. Well actually, I'd just as soonfind it myself. I just have thetoothbrush to carry up and I think Ican manage it myself.

(CONTINUED)

42.


ROOM CLERKWhatever you say, sir.

He hands Ben the key.

BENThank you.

56 56INT. VERANDA ROOM - NIGHT

Mrs. Robinson sits, patiently and calmly. Her face betraysabsolutely nothing as she stares ahead of her and sips hermartini.

WAITER NO. 1Mrs. Robinson.

She looks up. A waiter is standing next to the table with atelephone.

MRS. ROBINSONYes?

The waiter plugs the phone into the wall socket next to thetable and hands her the receiver.


The waiter nods and leaves.

MRS. ROBINSON(into phone)

Hello.

BEN'S VOICEMrs. Robinson?

MRS. ROBINSONYes?

BEN'S VOICEIt's Benjamin.

MRS. ROBINSONYes?

BEN'S VOICEBenjamin Braddock.

MRS. ROBINSONBenjamin -- where are you?

(CONTINUED)

43.

56 CONTINUED: 56

BEN'S VOICECan you look through the glass.

Mrs. Robinson turns in her chair and looks through the glassinto the lobby.

57 57INT. LOBBY - PHONE BOOTH - NIGHT - WHAT SHE SEES

Ben is in the phone booth in the lobby no more than twentyfeet away.

BEN'S VOICECan you see me now?

MRS. ROBINSONYes, I can.

58 58INT. LOBBY PHONE BOOTH

Over Ben's shoulder, we can see his face reflected in theglass door and, through it, Mrs. Robinson sitting in theVeranda Room.

INTERCUT PHONE CONVERSATION

BENI got a single room.

MRS. ROBINSONThat's fine.

BENBut there's one thing. The deskclerk seemed to be a little bitsuspicious. I mean - I don't knowwhat their policy is - but -

MRS. ROBINSONWell - do you want to go up first?

BENYes - I think that would be good.

MRS. ROBINSONI'll be up in five minutes.

BENWell - goodbye then -

MRS. ROBINSONBenjamin.

(CONTINUED)

44.

58 CONTINUED: 58

BENYes?

MRS. ROBINSONIsn't there something you want totell me?

BENTo tell you?

MRS. ROBINSONYes.

BENWell - I want you to know how muchappreciate this - really -

MRS. ROBINSONThe number.

BENWhat?

MRS. ROBINSONThe room number, Benjamin. I thinkyou ought to tell me that.

BENOh? You're absolutely right. Absolutely. It's 512.


BENYou're welcome. Well - I'll see youlater, Mrs. Robinson.

He hangs up.

59 59INT. LOBBY - PHONE BOOTH - SHOT - BEN

He leaves the hpone booth and walks back into the main lobby.


As he passes the desk, on his way to the elevator, he startsto pat his breast pocket.

BENI've got it.

The desk clerk looks up.

(CONTINUED)

45.

60 CONTINUED: 60

BENI say I've got it.

CLERKSir?

BENThe toothbrush. I got it all right.

CLERKVery good, sir.

BENYes. Well - goodnight.

CLERKGoodnight, sir.

Ben walks out of shot.

60A 60AINT. HOTEL CORRIDOR - NIGHT

Ben leaves elevator, walks down corridor to hotel room andopens door.

61 61INT. HOTEL ROOM - NIGHT

Ben closes the door behind him and leans with his back againstit for a few moments looking at the room. The only light isthat coming in the window. Ben turns on the light switch onthe wall near the door. The room blazes with the light fromthree lamps and an overhead fixture. He turns the switchoff. He crosses to the bathroom. Ben steps in and turns onthe light.

61A 61AINT. HOTEL ROOM - NIGHT

Ben steps out, moves to the window. We see the pool areathrough the window. Ben closes the blinds.

There is a KNOCK on the door. Ben crosses to the door andopens it. Mrs. Robinson moves to the bureau and puts herpurse and gloves on it. She looks at herself in the mirrorfor a moment then turns slowly, looking at the room, finallyending on Ben's face. She steps toward him.

MRS. ROBINSONWell?

He clears his throat and then he kisses her.

BENWell.

(CONTINUED)

46.

61A CONTINUED: 61A

MRS. ROBINSONBenjamin.

BENYes?

MRS. ROBINSONI'll get undressed now. Is that allright?

BENSure. Shall I - I mean shall I juststand here? I mean - I don't knowwhat you want me to do.

MRS. ROBINSONWhy don't you watch?

BENOh - sure. Thank you.

She takes off her jacket.

MRS. ROBINSONWill you bring me a hanger?

BENWhat?

MRS. ROBINSONA hanger.

Ben opens the closet door.

BENOh - yes. Wood?

MRS. ROBINSONWhat?

BENWood or wire? They have both.

MRS. ROBINSONEither one will be fine.

BENOkay.

He brings her a hanger. She puts her jacket on it.

MRS. ROBINSONWill you help me with this, please?

(CONTINUED)

47.


She turns her back.

BENCertainly.

He undoes the zipper at her neck.


BENYou're welcome.

She turns and looks at him. He backs away.

MRS. ROBINSONWould this be easier for you in thedark?

BENMrs. Robinson - I can't do this.

MRS. ROBINSONYou what?

BENThis is all terribly wrong.

MRS. ROBINSONBenjamin - do you find me undesirable?

BENOh no, Mrs. Robinson. I think -I think you're the most attractiveof all my parents' friends. justdon't think we could Possibly --

MRS. ROBINSONAre you afraid of me?

BENNo - but look - maybe we could dosomething else together, Mrs. Robinson -would you like to go to a movie.

MRS. ROBINSONBenjamin, is this your first time?

BENIs this - what?

(CONTINUED)

48.


MRS. ROBINSONIt is, isn't it? It is your firsttime.

BENThat's a laugh, Mrs. Robinson.That's really a laugh. Ha ha.

MRS. ROBINSONYou can admit that, can't you?

BENAre you kidding?

MRS. ROBINSONIt's nothing to be ashamed of -

BENWait a minute!

MRS. ROBINSONOn your first time -

BENWho said it was my first time.

MRS. ROBINSONThat you're afraid -

BENWait a minute.

MRS. ROBINSON- of bring - inadequate - I meanjust because you happen to beinadequate in one way -

BENINADEQUATE!

LONG pause.

MRS. ROBINSON starting to dress

BENDon't move.

He slams the bathroom door shut. The light in the roomdisappears.

FADE OUT:

(CONTINUED)

49.


FADE IN:


The midsummer sun beats down on the Braddock swimming pooland on Ben who lies on a rubber raft in the middle of thepool. Ben wears dark glasses, is deeply tanned, and holds abeer can in one hand.

SOUNDS: teenagers YELLING and swimming in nearby pools; aradio PLAYING rock and roll; a television set TUNED to aball game.

DISSOLVE TO:

63 63CLOSER SHOT - BEN

drifting.

DISSOLVE TO:

64 64CLOSER ANGLE ON BEN

drifting.

DISSOLVE TO:

65 65CLOSE SHOT - BEN

SOUND of the back door CLOSING. Ben opens his eyes and moveshis head slightly.

66 66WHAT HE SEES

Mr. Braddock is passionately stoking a barbeque fire. Mrs.

Braddock is going toward him from the house, carrying someominously large thing wrapped in tinfoil.

67 67SHOT - BEN

He rolls off the raft and swims to the end of the pool. Heclimbs out, walks to the back door, takes his shirt from achair and starts to put it on as he opens the back door andgoes through.

68 68INT. SPECIAL SET - TAFT HOTEL ROOM

Ben has just shut the door to the bathroom behind him. Heis wearing his shirt, buttoned, and no trousers.

(CONTINUED)

50.

68 CONTINUED: 68

PAN WITH BEN as he walks across the room past Mrs. Robinsonwho is standing in front of the bureau taking off her braceletand watch. He moves to a chair and sits.

He picks up a cigarette from an ashtray on a table next tothe chair. Mrs. Robinson moves in to Ben, kneels in frontof him and starts to unbutton his shirt.

He takes the cigarette out of his mouth.

69 69INT. SPECIAL SET - BRADDOCK DEN AND DINING ROOM - NIGHT

SHOT - NEW ANGLE

We now see behind Ben the door that leads from the Braddockden, in which Ben is sitting. In the dining room, Mr. andMrs. Braddock are sitting, having their dinner, lookingthrough the doorways toward Ben. Ben stands, crosses backto the door to the den and shuts it.

70 70INT. BRADDOCK DEN - NIGHT - REVERSE

On Ben's back as he returns to the chair and sits. Atelevision set, facing the chair, is on. Ben picks up a canof beer and drinks from it. An animated cartoon is playingon the television set. Ben watches it.

71 71REVERSE

Ben's face, watching. PUSH IN to CLOSEUP of his face.

72 72REVERSE

CLOSEUP of television set and cartoon.

73 73REVERSE

Ben watching.

74 74REVERSE

CLOSEUP test pattern.

CUT TO:

75 75INT. TAFT HOTEL ROOM - NIGHT

CLOSEUP Ben watching. PULL BACK and we are in the Taft HotelRoom. Ben is sitting on the bed, leaning against theheadboard, watching the television set which is on a standfacing the bed.

SOUND of the HUM of the test pattern.

(CONTINUED)

51.

75 CONTINUED: 75

PULL BACK to a WIDE SHOT of the room, lit only by the lightfrom the television set. Mrs. Robinson walks into the shot,half dressed. She passes between Ben and the television setand goes out of frame. Ben continues to stare at the set.

SOUND of a ZIPPER being pulled up.

Mrs. Robinson appears again and passes the other way.

SOUND of BRACELETS being put on.

Mrs. Robinson passes back the other way again.

SOUND of CLOTHING being put on and a PURSE being snappedclosed. Mrs. Robinson, now fully dressed and carrying herpurse, passes through again and, without looking at Ben,goes to the door of the hotel room, opens it and exits.

76 76INT. BENS' ROOM - CLOSEUP - BEN - DAY

SOUND of DOOR closing. Follow Ben as he gets up and movesto the windows of what is now his BEDROOM in the Braddockhouse. He opens the closed blinds over the window. The sunis bright outside. His bathing suit is on the window sill. He takes the suit and puts it on. He moves to the bedroomdoor, opens it and goes out.

77 77OMITTED


We see Mrs. Braddock in the kitchen. Ben comes through theback door, moves to the pool and dives in. The raft floatsin the center of the pool.

79 79SHOT - UNDERWATER

Ben swims toward us the length of the pool.

80 80SHOT - AT THE WATERLINE

Ben surfaces and, in one movememt, pulls himself up on theraft and -

CUT TO:

81 81INT. TAFT HOTEL ROOM - NIGHT

- lands on top of Mrs. Robinson on the bed. He stays on topof her for a moment.

MR. BRADDOCK'S VOICEBen - what are you doing?

(CONTINUED)

52.

81 CONTINUED: 81

Ben turns toward us and looks.

CUT TO:


SHOT - POV OF BEN ON RAFT

Mr. Braddock standing by the side of the pool. The sun isbehind him.

BEN'S VOICEWell - I would say that I'm justdrifting.

CUT TO:

83 83SHOT - BEN ON RAFT

BEN- here - in the pool.

MR. BRADDOCKWhy?

BENWell - it's very comfortable -just to drift here.

MR. BRADDOCKHave you thought about graduateschool?

BENNo.

MR. BRADDOCKWould you mind telling me then -what were those four years of collegefor? What was the point of all thathard work?

BENYou got me.

MR. BRADDOCK(trying unsuccessfullyto control himself)

Now listen, Ben. I think it's avery good thing that a young man -after he's done some very good work -should have a chance to relax and

(MORE)

(CONTINUED)

53.

83 CONTINUED: 83

MR. BRADDOCK (CONT'D)enjoy himself, and lie around, anddrink beer and so on. But after afew weeks I believe that person wouldwant to take some stock in himselfand his situation and start to thinkabout getting off his ass.

Mrs. Braddock steps in beside Mr. Braddock.

MRS. BRADDOCKThe Robinson's are here.

Mr. Robinson steps in beside the others. They blot out thesun.

MR. ROBINSONHi, Ben. What are you doing withyourself these days?

BENOh - not too much. Taking it easy.

MR. ROBINSONThat's what I'd do if I could.Nothing wrong with that. Hey Ben,Elaine's coming down from Berkeleysoon. I want you to call her upthis time.

BENI will.

MR. ROBINSONBecause I just think you two wouldhit it off real well together.

Mrs. Robinson steps in beside them. (A long pause)

MRS. BRADDOCKSay hello to Mrs. Robinson, Benjamin.

84 84SHOT - BEN

BENHello, Mrs. Robinson.


DISSOLVE TO:

54.

85 85INT. BEN'S ROOM - NIGHT

Ben, halfway dressed to go out, in slacks, shirt and tie,sits in a chair. The door opens and Mrs. Braddock enters.

MRS. BRADDOCKCan I talk to you a minute?

BENSure.

MRS. BRADDOCKBenjamin? I'm going to ask yousomething but you don't have to tellme if you don't want.

BENWhat?

MRS. BRADDOCKWell I'm going to ask you what youdo when you go off at night.

BENWhen I go off?

MRS. BRADDOCKYou don't have to tell me if youdon't want.

BENNo, I do. I want to tell you.

There is a pause.

BENI drive around.

MRS. BRADDOCKWhat else?

BENNothing else.

MRS. BRADDOCKWell you don't drive around frommidnight until noon the next day,Benjamin.

BENOh, no.

(CONTINUED)

55.

85 CONTINUED: 85

MRS. BRADDOCKThen what do you do? Do you meetsomeone?

BENMeet someone?

She nods.

BENWhy did you say that?

MRS. BRADDOCKWell this is your business, Benjamin.

(she starts towardthe door)

If you -

BENNo wait. Wait.

She stops.

BENI don't meet anyone, mother, but whydid you say that?

MRS. BRADDOCKBenjamin, I'm not going to pry intoyour affairs, but I'd rather youdidn't say anything at all than bedishonest. Goodnight, Benjamin.

BENWell, wait.

She looks at him.

BENYou think I'm being dishonest?

She nods.

BENWell why do you - why do you thinkthat?

MRS. BRADDOCKBecause I know you don't drive aroundfor twelve hours.

(CONTINUED)

56.


BENOh. Well, I don't. Shall I tellyou what I do?

MRS. BRADDOCKNot if you don't want to.

BENI do.

MRS. BRADDOCKBut I don't want you to make upsomething.

BENI'm not. But I'm - I'm not veryproud of what I do. I usually getkind of drunk. I usually drive overto Los Angeles and go to some barsand get kind of drunk. Then I takea hotel room. So I won't have todrive home on the freeway. I meanit kind of scares me to drive homeafter -

MRS. BRADDOCKGoodnight, Benjamin.

BENYou believe me, don't you?

MRS. BRADDOCKNo.

BENYou don't?

She shakes her head.

BENBut I want you to. Please. Pleasewill you believe me.

85A 85ASHOT - MRS. BRADDOCK

MRS. BRADDOCK(she exits)

Goodnight.

BEN'S VOICEWait a minute.

CUT TO:

57.

86 86OMITTED

87 87INT. TAFT HOTEL ROOM - NIGHT - SHOT - BEN

Mrs. Robinson's hands are undoing his necktie. Ben is dressedas in previous scene, plus a jacket.

BENWait a minute.

(he pushes her handaway)

Sit down a minute.

Mrs. Robinson looks at him and raises her eyebrows.

BENWill you please sit down a minute.

Mrs. Robinson walks to the bed and sits. She reaches downto take off a shoe.

BENWill you leave that shoe on for aminute. Please.

She straightens up.

BENNow - do you think we could say afew words to each other first thistime?

MRS. ROBINSONIf you want.

BENGood. I mean are we dead orsomething?

MRS. ROBINSONWell I just don't think we have muchto say to each other.

BENAll we ever do is come up here andthrow off the clothes and leap intobed together.

MRS. ROBINSONAre you tired of it?

(CONTINUED)

58.

87 CONTINUED: 87

BENI'm not. No. But do you think wecould liven it up with a few wordsnow and then?

MRS. ROBINSONWell what do you want to talk about?

BENAnything. Anything at all.

MRS. ROBINSONDo you want to tell me about some ofyour college experiences?

BENOh my God.

MRS. ROBINSONWell?

BENMrs. Robinson. If that's the bestwe can do let's just get the god-damn clothes off and --

She reaches for her shoe.

BENLeave it on! Now we are going to dothis thing. We are going to have aconversation. Think of another topic.

MRS. ROBINSONHow about art.

BENArt. That's a good subject.You start it off.

MRS. ROBINSONYou start it off. I don't knowanything about it.

BENOh.

MRS. ROBINSONDon't you?

BENYes I do. I know quite a bit aboutit.

(CONTINUED)

59.


MRS. ROBINSONGo ahead then.

BENArt. Well what do you want to knowabout it.

She shrugs.

BENAre you interested more in modernart or more in classical art.

MRS. ROBINSONNeither.

BENYou're not interested in art?

MRS. ROBINSONNo.

BENThen why do you want to talk aboutit?

MRS. ROBINSONI don't.

Ben nods and looks at the rug.

MRS. ROBINSONCan I take off my clothes now?

BENNo. Think of another topic.Tell me what you did today.

MRS. ROBINSONDo you really want me to?

BENYes I do.

MRS. ROBINSONI got up.

Ben starts shaking his head.

MRS. ROBINSONDo you want to hear it or not?

(CONTINUED)

60.


BENYes. But you might try and spice itup with a little originality.

MRS. ROBINSONI got up. I ate breakfast andwent shopping. During the after-noon I read a novel.

BENWhat one.

MRS. ROBINSONWhat?

BENWhat novel did you read.

MRS. ROBINSONI don't remember.

Ben nods.

MRS. ROBINSONThen I fixed supper for my husbandand waited until -

BENThere!

MRS. ROBINSONWhat?

BENYour husband! Mrs. Robinson!There's something we could have aconversation about.

MRS. ROBINSONHim?

BENI mean everything. I don't knowanything about how you - how youwork this. I don't know how you getout of the house at night. I don'tknow the risk involved.

MRS. ROBINSONThere isn't any.

BENThere's no risk?

(CONTINUED)

61.



BENHow do you get out of the house?

MRS. ROBINSONI walk out.

BENYou walk right out the door.

She nods.

BENWhat do you say to him?

MRS. ROBINSONHe's asleep.

BENAlways?

MRS. ROBINSONBenjamin, this isn't a veryinteresting topic.

BENPlease. Now tell me. How do youknow he won't wake up sometime andfollow you.

MRS. ROBINSONBecause he takes sleeping pills.

He takes three sleeping pills every night at ten o'clock.

BENBut what about the noise fromthe car. What if -

MRS. ROBINSONThe driveway's on my side of thehouse.

BEN(smiling)

We're talking.

MRS. ROBINSONWhat?

(CONTINUED)

62.


BENWe're talking, Mrs. Robinson. We'retalking.

MRS. ROBINSONCalm down, Benjamin.

BENNow let's keep going here.

MRS. ROBINSONCan I undress and talk at the sametime?

BENRight.


BENNow. You say the driveway's on yourside of the house. So I guess youdon't sleep in the same room.

MRS. ROBINSONWe don't.

BENSo you don't - I mean I don't liketo seem like I'm prying but I guessyou don't sleep together or anything.

MRS. ROBINSONNo we don't.

BENWell how long has this been goingon.

MRS. ROBINSON(looking at the ceilingfor a moment)

About five years.

BENOh no. Are you kidding me?

MRS. ROBINSONNo.

(CONTINUED)

63.


BENYou have not slept with your husbandfor five years?

MRS. ROBINSONNow and then. He geats drunk a fewtimes a year.

BENHow many times a year.

MRS. ROBINSONOn New Year's Eve. Sometimes on hisbirthday.

BENMan, is this interesting.

MRS. ROBINSONIs it?

BENSo you don't love him. Youwouldn't say you -

MRS. ROBINSONWe've talked enough, Benjamin.

BENWait a minute. So you wouldn't sayyou loved him.

MRS. ROBINSONNot exactly.

BENBut you don't hate him.

MRS. ROBINSONNo, Benjamin. I don't hate him.Unhook my blouse.

BEN(unhooking her blouse)

Well how do you feel about him, then?

MRS. ROBINSONI don't.

BENWell that's kind of a bad situationthen, isn't it?

(CONTINUED)

64.


MRS. ROBINSONIs it?

BENI mean it doesn't sound like it couldbe much worse. If you hated him atleast you'd hate him.

She nods and takes off her blouse.

BENWell you loved him once, I assume. When you first knew him.

MRS. ROBINSONNo.

BENWhat?

MRS. ROBINSONI never did, Benjamin. Nowlet's -

BENWell, wait a minute. You marriedhim.

She nods.

BENWhy did you do that?

MRS. ROBINSON(taking off herstockings)

See if you can guess.

BENWell I can't.

MRS. ROBINSONThink real hard, Benjamin.

BENI can't see why you did, unless ...youdidn't have to marry him or anything,did you?

MRS. ROBINSONDon't tell Elaine.

(CONTINUED)

65.


BENOh no. You had to marry him becauseyou got pregnant?

MRS. ROBINSONAre you shocked?

BENWell I never thought of you and Mr.Robinson as the kind of people who...

MRS. ROBINSONAll right. Now let's get to bed.

BENWait a minute. Wait a minute.So how did it happen?

MRS. ROBINSONWhat?

BENI mean do you feel like telling mewhat were the circumstances?

MRS. ROBINSONNot particularly.

BENWas he a law student at the time?

She nods.

BENAnd you were a student also.

MRS. ROBINSONYes.

BENAt college.

MRS. ROBINSONYes.

BENWhat was your major?

MRS. ROBINSONWhy are you asking me all this?

(CONTINUED)

66.


BENBecause I'm interested, Mrs. Robinson. Now what was your major subject atcollege?

MRS. ROBINSONArt.

BENArt?

She nods.

BENBut I thought you - I guess you kindof lost interest in it over the yearsthen.

MRS. ROBINSONKind of.

BENWell how did it happen?

MRS. ROBINSONHow do you think.

BENI mean did he take you up to hisroom with him? Did you go to a hotel?

MRS. ROBINSONBenjamin, what does it possiblymatter?

BENI'm curious.

MRS. ROBINSONWe'd go to his car.

BENOh no. In the car you did it?

MRS. ROBINSONI don't think we were the first.

Ben thinks for a moment.

BENWhat kind of car was it?

(CONTINUED)

67.


MRS. ROBINSONWhat?

BENDo you remember the make of the car?

MRS. ROBINSONOh my God.

BENReally. I want to know.

MRS. ROBINSONIt was a Ford, Benjamin.

BEN(jumping up)

A Ford! A Ford! Goddamnit, a Ford! That's great!

MRS. ROBINSONThat's enough.

BENSo old Elaine Robinson got startedin a Ford.

There is a pause.

MRS. ROBINSONDon't talk about Elaine.

BENDon't talk about Elaine?

MRS. ROBINSONNo.

BENWhy not?

MRS. ROBINSONBecause I don't want you to.

She walks to the bed.

BENWell why don't you?

She pulls the bedspread down. Ben begins to remove hisjacket.

(CONTINUED)

68.


BENI wish you'd tell me.

MRS. ROBINSONThere's nothing to tell.

BENWell why is she a big taboo subjectall of a sudden?

Mrs. Robinson uncovers one of the pillows.

BENWell - I guess I'll have to ask herout on a date and find out what's --

MRS. ROBINSONBenjamin, don't you ever take thatgirl out.

Ben looks at her.

MRS. ROBINSONDo you understand that?

BENWell look. I have no intention oftaking her out.

MRS. ROBINSONGood.

BENI was just kidding around.

MRS. ROBINSONGood.

BENBut why shouldn't I?

MRS. ROBINSONI have my reasons.

BENThen let's hear them.

MRS. ROBINSONNo.

(CONTINUED)

69.


BENLet's hear your reasons, Mrs. Robinson. Because I think I knowwhat they are.

She pulls the covers down.

BENI'm not good enough for her toassociate with, am I? I'm not goodenough to even talk about her, am I?

MRS. ROBINSONLet's drop it.

BENWe're not dropping it. Now that'sthe reason, isn't it? I'm a dirtydegenerate, aren't I? I'm not fitto -


BENI'm good enough for you but I'm tooslimy to associate with your daughter. That's it, isn't it? ISN'T IT?

MRS. ROBINSONYes.

BENYou go to hell. You go straight tohell, Mrs. Robinson. Do you thinkI'm proud of myself? Do you thinkI'm proud of this?

MRS. ROBINSONI wouldn't know.

BENWell, I'm not.

MRS. ROBINSONYou're not.

BENNo sir. I am not proud that Ispend my time with a broken-down alcoholic!

(CONTINUED)

70.


MRS. ROBINSONI see.

BENAnd if you think I come here for anyreason besides pure boredom, thenyou're all wrong.

She nods.

BENBecause - Mrs. Robinson this is thesickest, most perverted thing thatever happened to me. And you dowhat you want but I'm getting thehell out.

MRS. ROBINSONAre you?

BENYou're goddamn right I am.

He starts putting on his shirt. She sits on the edge of thebed and watches him.

MRS. ROBINSONThat's how you feel about me.

He nods.

MRS. ROBINSONThat I'm a sick and disgusting person.

BENNow don't start this.

MRS. ROBINSONWhat?

BENDon't start acting hurt.

MRS. ROBINSONDon't you expect me to be a littlehurt?

BENMrs. Robinson, you stand there andtell me I'm not good enough for yourdaughter.

(CONTINUED)

71.


MRS. ROBINSONDid I say that?

BENOf course you did.


MRS. ROBINSONBenjamin, I want to apologize to youif that's the impression you got.

BENWell two minutes ago you told me Iwasn't good enough for your daughter. Now you say you're sorry I got thatimpression.

MRS. ROBINSONI didn't mean it. I don't thinkyou'd be right for each other.But I would never say you weren't asgood a person as she is.

BENYou wouldn't.

MRS. ROBINSONOf course I wouldn't.

Mrs. Robinson walks to the closet.

BENWhat are you doing?

MRS. ROBINSONWell it's pretty obvious you don'twant me around any more.

BENWell look - I was kind of upset there. I'm sorry I said those things.

MRS. ROBINSONIf that's how you feel -

BENBut it's not.

MRS. ROBINSON(smiling at him)

That's all right.(MORE)

(CONTINUED)

72.


MRS. ROBINSON (CONT'D)I think I can understand why I'mdisgusting to you.

BENOh no. Look - I like you. I wouldn'tkeep coming here if I didn't likeyou.

MRS. ROBINSONBut if it's sickening for you -

BENIt's not! I enjoy it! I look forwardto it. It's the one thing I have tolook forward to.

MRS. ROBINSONYou don't have to say that.

BENWell I wouldn't. I would never sayit if it wasn't true.

MRS. ROBINSONMay I stay then?

BENYes. Please. I want you to.


BENWell don't thank me, because I wantyou to.

There is a long pause.

MRS. ROBINSONBut you won't ever take out Elaine,will you? I want you to promise methat.

There is another long pause.

BENLook. Why the hell did you bringthis up. It never occured to me totake her out.

MRS. ROBINSONThen give me your word you won't.

(CONTINUED)

73.


BENThis is absurd.

MRS. ROBINSONPromise me, Benjamin.

BENAll right, for christ's sake.I promise I will never take out ElaineRobinson.


(pause)Benjamin -

BENLet's not talk about it. Let's nottalk at all.

At opposite sides of the room, without looking at each other,they begin to take off their clothes.

FADE OUT:

FADE IN:

88 88INT. BRADDOCK KITCHEN - DAY

Ben sits at the table, eating his breakfast and looking atthe back of a cereal box. Mr. and Mrs. Braddock are there.

MR. BRADDOCKElaine's back from school. I thinkit might be a nice gesture if youasked her out.

Benjamin looks at his father for a moment, then continueseating and reading.

CUT TO:

89 89INT. BEN'S ROOM - DAY

Ben is lying on his bed. Mrs. Braddock stands in the doorway.

MRS. BRADDOCKDon't you think that she's a terriblyattractive girl? Because I thinkshe's one of the prettiest girlsI've ever seen.

(CONTINUED)

74.

89 CONTINUED: 89

Ben gives a small whimper.

CUT TO:


Ben is lying face down on his raft in the middle of theBraddock pool. The sun shines down. His diving mask is onover his eyes. His face is in the water, looking down atthe bottom of the pool. Mr. and Mrs. Braddock, in theirbathing suits, are in the pool, paddling around Ben. Duringthe entire conversation they continue to swim around andaround the raft, trying to talk and keep their heads abovethe surface.

MRS. BRADDOCKIt's pretty embarrassing. I reallydon't know what to tell Mr. Robinson. It's awkward and strained for meevery time he suggests that you callup Elaine.

BENNext time he suggests it, I'll tellhim I have no intention of evercalling her up in my life.

MR. BRADDOCKI guess she's not good enough foryou, is that it?

BENLook - Elaine Robinson and I do notget along.

MR. BRADDOCKHow do you know? You haven't seenher since high school. I guess yourevenings, whatever you do with them,are just too valuable.

BENThat has nothing to do with it -

MR. BRADDOCKI guess I'll just tell Mr. Robinsonthat you're just too busy everyevening - doing God knows what -

MRS. BRADDOCKDon't go on like this. Now ifBenjamin absolutely refuses totake her out -

(CONTINUED)

75.

90 CONTINUED: 90

BENI do.

MRS. BRADDOCK- then I'll simply invite all theRobinsons' over for dinner onThursday.

SHOT - BENHe slides off the raft and goesunderwater.

91 91SHOT - BEN UNDERWATER

His hair streaming up, his eyes open.

CUT TO:

92 92INT. SPECIAL SET BRADDOCK DINING ROOM - NIGHT

The dining room is one tenth its normal size. At a tablefor two are seated, jammed in against each other, the threeRobinsons and the three Braddocks. Elaine's back is to us. Ben is at the other end of the table, facing us. TheRobinsons and Braddocks sit along the sides. Mrs. Robinsonis next to Ben, everyone is eating, looking down at theirplaces. After a few moments Ben throws his head back ansstarts to scream. As he continues to scream, everyone looksat him except Mrs.

Robinson who continues to eat calmly without looking up.

CUT TO:


Ben surfaces and pulls himself up on the side of the pool.

BENI'll go call Elaine now.

Mr. and Mrs. Braddock cling exhausted to the raft and try tosmile at each other.

SOUND: Ding dong of the Robinson door chimes.

CUT TO:

94 94EXT. & INT. ROBINSON FRONT DOOR, HALL AND SUNROOM - NIGHT

The door opens. Mr. Robinson stands there with a huge smile.

(CONTINUED)

76.

94 CONTINUED: 94

MR. ROBINSONWell, Braddock - it's about time yougot around to this. Come on in. I'm afraid the young lady isn't quiteready yet -

Mr. Robinson turns toward the sunroom. Mrs. Robinson issitting there.

BENHello.

MR. ROBINSONWhat would you say to a short one?Bourbon still your drink?

BENYes.

Mr. Robinson hands him drink.

MR. ROBINSONI'll see if she's ready.

Mr. Robinson exits.

95 95SHOT - BEN AND MRS. ROBINSON

NOTE Following dialogue played simultaneously

BENNow listen -- this wasnot my idea. It was myfather's

MR. ROBINSON'S VOICE(from hall)

Hey -- there she is. Miss idea.America -- that's who itis.It's definitely MissAmerica.

MRS. ROBINSONBenjamin -- I thoughtI made myself perfectlyclear about -

ELAINE'S VOICEDaddy can you fix this? this. The clasp is brokenI think.

(CONTINUED)

77.

95 CONTINUED: 95

BENLook, we'll go out todinner and have a drinkand I'll bring herback. Because it waseither that or a dinnerparty for the twofamilies. And I'm afraidI couldn't handle thatif you don't mind. Ihave no intention ofever taking yourprecious daughter outagain in her life. Sodon't get upset aboutit.

MR. ROBINSON'S VOICE(whispering urgently)

I'll do it - I'll do it.

ELAINE'S VOICE Is Ben here?

MR. ROBINSON'S VOICE He's in the living roomhaving a chat with yourmother.

MRS. ROBINSONBut I am. I'm extremely upset aboutit, Benjamin.

Mr. Robinson and ELAINE enter.

ELAINEHello.

BENHello.

96 96CLOSEUP - MRS. ROBINSON

MR. ROBINSON'S VOICEWell - I want you to keep your witsabout you tonight. You never knowwhat tricks Ben picked up back therein the East.

LAP DISSOLVE TO:

97 97EXT. FREEWAY - NIGHT

SHOT - BEN AND ELAINE in Ben's car. From the back. Benleans forward slightly, pushing the car recklessly in andout of the traffic. Ben is wearing dark glasses.

ELAINEYou're living at home now. Is thatright?

(CONTINUED)

78.

97 CONTINUED: 97

BENYes.

ELAINEDo you know what you're going to do?

BENNo.

ELAINEAre you going to graduate school?

BENNo.

He leans on the HORN. The car directly ahead of him doesnot move to the right. Ben jerks his car over to the right,swerves around the car ahead, jamming his horn down, andswerves back into the outside lane, giving the driver of theother car an angry look as he passes him.

Elaine holds on to the dashboard to keep her balance.

ELAINEDo you always drive like this?

BENYes.

CUT TO:

98 98INT. RESTAURANT - NIGHT

A drab, almost deserted room with formally dressed WAITERS.

Ben and Elaine are seated at a table.

BENDo you want some dinner?

ELAINEI'd love some.

A waiter moves forward toward them.

BENBring a menu.

WAITER #2Dinner for two, sir?

BENNo. Just for her.

(CONTINUED)

79.

98 CONTINUED: 98

The waiter moves away.

ELAINEAren't you eating?

BENNo.

ELAINEWhy not?

BENIf it's all right with you, I'm nothungry.

The waiter returns with a menu.

ELAINEI've changed my mind. Thank you.

CUT TO:

99 99EXT. SUNSET STRIP - NIGHT - SHOTS

Ben and Elaine walking on the strip.

100 100EXT. STRIP JOINT - NIGHT

Ben pushes through the people crowded in around the entrance. Without turning around, he waits for Elaine who has difficultyfollowing him. As she gets to him, he starts forward again. He starts up the stairs.

Elaine is just behind him.

CUT TO:

101 101INT. STRIP JOINT - NIGHT

Seedy, ugly, three quarters filled. A tuxedoed HOOD leadsthem through the tables to a table directly under the stageon which a STRIPPER is in the process of removing her dress. There is one chair facing the stage, the other with its backto and up against the stage. Ben sits down in the chairfacing the stage. Elaine stands for a moment, unsure.

BENSit down.

Elaine sits in the chair with her back to the stage.

She folds her hands on the table and looks down at them.

(CONTINUED)

80.

101 CONTINUED: 101

Ben takes a pair of dark glasses out of his pocket and putsthem on. The two chairs are slightly angled toward eachother so that Ben can look up at the stage without lookingdirectly at Elaine.

BENWhy don't you watch the show?

The stripper is reflected in Ben's glasses.

ELAINEBenjamin - do you dislike me forsome reason?

BENNo - why should I?

ELAINEI don't know.

102 102SHOT - ACROSS BEN - THE STRIPPER

She is down to a tasseled bra and g-string. She is twirlingthe tassels.

BENYou're missing a great effect here.

Elaine turns around, looks at the stripper and turns back.

BENHow do you like that?

Elaine doesn't answer.

BENCould you do it?

ELAINENo.

The stripper sees Elaine look. The stripper smiles towardBen and walks toward his table, twirling the tassels as shewalks. Ben smiles as he watches her approaching.

The stripper moves directly behind Elaine's chair. Thespotlight from the back of the house falls into Elaine'sface. As it does, Elaine puts her hand up to shield hereyes.

The stripper slides a finger into her mouth, wets it andholds it up in the air. The music stops and a DRUM ROLLstarts.

(CONTINUED)

81.

102 CONTINUED: 102

The stripper bends over Elaine's head and begins swingingthe tassels so that they rotate in front of Elaine's face.

103 103SHOT - BEN

He leans forward slightly to watch the action. The swingingtassels are reflected in his glasses.

The DRUM ROLL gets louder and faster. The tassels swingmore frantically.

104 104SHOT - ELAINE

She pulls her hand down from in front of her eyes.

105 105SHOT - BEN

With Elaine's face reflected in his glasses.


Through Ben's glasses. Elaine's face seen darkly but fullyfor the first time. The tassels swing in front of it. Tearsstart out of her eyes.

107 107SHOT - BEN

He reaches up to remove the glasses.


As the glasses come off and her face is seen in the harshspill from the spotlight. The tears are running down herface. Only her eyes are crying as she looks straight atBen.

109 109SHOT - BEN

With his glasses off, he watches her. He reaches forwardand puts his hand in the way of the tassels.

STRIPPERHey!

Some of the customers start to boo. Ben rises, takes Elaine'sarm and leads her toward the exit.

CUT TO:

110 110EXT. STRIP JOINT - NIGHT

The entrance to the strip joint. Elaine runs to the bottomof the steps.

(CONTINUED)

82.

110 CONTINUED: 110

The Sunset Strip sidewalk outside is crowded with peoplemoving back and forth. Ben follows her. She pushes throughthe crowd on the sidewalk. Ben catches her and holds herarm.

BENElaine - I'm sorry.

Elaine leans against the side of the building and pulls herarm away.

ELAINEWill you take me home now?

BENI'm sorry I took you in there.

ELAINEI think I'd better go home now please.

BENBut, Elaine -

ELAINEWhere is the car?

BENI just want to tell you something.

Ben, facing her, keeps moving from side to side, trying toget her to look at him. She keeps looking away.

ELAINEI want to go home.

BENBut could I just tell you this onething?

ELAINEWhat?

BENThis whole idea - this date andeverything. It was my parents' idea. They forced me into it.

ELAINEOh - that's very nice of you to tellme.

(CONTINUED)

83.


BENNo. What I mean is - that's whyI've been acting this way. I'm notlike this. I hate myself like this.

She starts to cry. People on the sidewalk are looking atthem. She turns away from them. Ben moves away from them. Ben moves around in front of her.

BENListen - could you stop crying,please?

ELAINENo, I couldn't.

BENBut could you try?

ELAINENo.

She brings both hands up to her face. Ben looks at her fora few moments in agony. Then, very determined, he takes herwrists in his hands and pulls them away from her face. Shelooks up startled. She starts to give a little cry but beforeshe can he is kissing her. She closes her eyes.

He brings his fists, containing her hands, up to the side ofher face. He opens his hands against her face, freeing herhands. Her hands move slowly to his wrists and hang on. After a while she pulls away, turning her head slightly toone side.

BENElaine -

He starts to pull her head back.

ELAINENot here. Not here.

DISSOLVE TO:

111 111EXT. DRIVE IN RESTAURANT - NIGHT

Ben and Elaine are sitting in the car in a drive-inrestaurant. There are trays hooked onto windows along sideof both of them. They are eating and drinking furiously.

(CONTINUED)

84.

111 CONTINUED: 111

BENI've had this feeling - ever sinceI've graduated - this - kind ofcompulsion that I have to be rudeall the time. Do you know what Imean?

ELAINEYes, I do.

He looks at her.

BENIt's like I've been playing somekind of - game - but the rules don'tmake any sense to me -

She is watching him carefully.

BEN- they're being made up by allthe wrong people - no - I mean noone makes them up, they seem to havemade themselves up.

A car with a COUPLE OF TEENAGERS has driven up in the sloton their right. Its RADIO is tuned into a rock and rollstation and it is playing LOUDLY. Ben leans across Elaineand speaks through the window to the kid behind the wheel.

BENSay - I wonder if I could requestyou to turn that down a little?

The kid turns the radio up. Ben and Elaine roll their windowsup.

112 112SERIES OF SHOTS

From outside of car. Ben is talking with great animation

- Elaine is watching him. They are both eating as Ben

talks, telling Elaine a story. Their windows are rolled up.

SOUNDS: Cars GUNNING their ENGINES; horns HONKING; radiosPLAYING; waitresses YELLING orders; customers YELLING atwaitresses; kids LAUGHING and TALKING from car to car;MOTORCYCLES driving in and out, TRAFFIC.

CUT TO:

85.


The car coasts silently to a stop in front of the Robinsonhouse. The RADIO plays QUIETLY. Ben turns it OFF. Theysit there for a long time without saying anything, Ben'shand touching her shoulder. It is very quiet.

ELAINEWell - maybe I'd better go in.

He nods. They continue to sit there for another long moment.

ELAINEWould you like to come in? I couldmake some coffee.

BENNo, I mean - I wouldn't want to wakeanyone up.

ELAINEWe won't. Let's go inside.

BENWait a minute.

ELAINEIs anything wrong?

BENNo - I was just thinking - look -it's still early - we could dosomething - go somewhere else.

ELAINEAll right.

He starts the car immediately and drives away from the house.

114 114INT. BEN'S CAR - NIGHT

Ben is driving.

ELAINEWhere we going?

BENI'm trying to think of where there'sa place to have a drink around here.

ELAINEIsn't there one in the Taft Hotel?

(CONTINUED)

86.

114 CONTINUED: 114

There is a SQUEAL of TIRES as Ben almost drives off the road.

ELAINEWhat is the matter?

BENNothing. I'm just wondering if theyhave a bar or not. I mean let's gosee. Let's go see if they do ornot.

115 115INT. TAFT HOTEL LOBBY - NIGHT

Ben and Elaine enter the lobby and stand just inside thedoor. They start in a few steps.

BENListen, Elaine - it seems to me thatthere isn't a bar in here.I mean - as far as I know.

ELAINEOf course there is. Look -The Veranda Room - right there.

ONE of the CAR PARKERS passes them on his way out.

CAR PARKERGood evening.

CAMERS BEGINS TO PULL UP AND AWAY. A BELLBOY passes them.

BELLBOYHello, how are you, sir?

The room clerk smiles at them.

ROOM CLERKGood evening, Mr. Gladstone.

Ben and Elaine stop a few feet into the center of the lobby. The CAMERA PULLS BACK to a HIGH OVERHEAD SHOT revealing manypeople moving back and forth in the lobby, passing Ben andElaine.

VOICE #1Hello again.

VOICE #2Hi, Mr. Gladstone. How are you thisevening?

(CONTINUED)

87.

115 CONTINUED: 115

ELAINEBenjamin -

BENLet's get out of here, Elaine.Let's go somewhere else.

ELAINEBenjamin - do they know you?

BENOf course not.

VOICE #3Good evening, sir.

VOICE #4Mr. Gladstone - how are you?

He moves her toward the door.

BENCome on, Elaine. We're leaving.

CUT TO:

116 116EXT. TAFT HOTEL

Ben brings Elaine through the door to the porch.

ELAINEBen - what's happening? Who is Mr.Gladstone?

BENI don't know. They must think Ilook like this guy Gladstone.

PAN WITH THEM as they start down the steps. Coming up thesteps toward them is Miss DeWitte, on the arm of anotherELDERLY LADY.

MISS DEWITTEHello, Mr. Brannif.

SOUND: Car STARTING noisily.

117 117EXT. TAFT HOTEL DRIVEWAY - NIGHT

Ben and Elaine in his car. He takes his hand off theignition, jams on the accelerator and drives the car speedilyfor twenty-one feet and jams on the brakes. He turns offthe ignition and the lights.

(CONTINUED)

88.

117 CONTINUED: 117

He puts his head down on the steering wheel. He lifts hishead.

BENElaine - I like you. I like you somuch. Do you believe that?

She nods.

BENDo you?

ELAINEYes.

BENYou're the first - you're the firstthing for so long that I've liked. The first person I could stand to bewith.

She takes his hand.

BENI mean my whole life is such a waste. It's just nothing. I'm sorry. I'lltake you home now.

He turns the key in the ignition and starts the car.

ELAINEBenjamin - are having an affair withsomeone?

He freezes with his hand still on the key.

ELAINEI'm sorry.

He turns off the engine.

ELAINEI'm sorry. That is not my business.

BENIt just happened. It was just thisthing that happened along witheverything else. Can you understandthat?

She nods.

(CONTINUED)

89.


ELAINEWas she married or something?

BENYes.

ELAINEWith a family?

BENYes. She had a husband and a son.

ELAINEDid they ever find out?

BENNo.

ELAINEAnd it's all over now.

BENYes.

ELAINEI'm glad.

He starts the car and drives out.

118 118EXT. ROBINSON HOUSE - NIGHT - SHOT - BEN AND ELAINE IN BEN'SCAR

BENCan we do something tomorrow?

ELAINEAll right.

BENDuring the day? We'll go for a driveor something.

ELAINEOkay.

BENYou sure you really want to?

ELAINEYes.

(CONTINUED)

90.

118 CONTINUED: 118

BENBecause I wouldn't want you to do itunless you really wanted to!

ELAINEI do.

BENYou do?

ELAINEBenjamin - I really do.

DISSOLVE TO:

119 119EXT. STREET NO. 1 - NEAR ROBINSON HOUSE - DAY

SHOT - INT. BEN'S CAR - BEN DRIVING

It is raining. On the seat beside Ben is a package.

From the way it is wrapped, we can tell it is a gift.

Ben's right hand is on it as he drives. The radio is playing. Past Ben and through the windsheild as the Robinson housecomes closer and closer. The front door of the Robinsonhouse opens and Mrs. Robinson comes out, dressed in ahousecoat, and, in four or five fast steps, reaches the car,opens the door on the passengers side and climbs in. Benmoves the package over into his lap.

MRS. ROBINSONDrive down the block.

BENMrs. Robinson - I have a date withElaine. We're going for a drive.

MRS. ROBINSON(looking at him forthe first time)

Do exactly what I say.

Ben starts the car forward down the driveway.

120 120ANOTHER ANGLE - BEN AND MRS. ROBINSON

As they drive.

BENNow it seems to me -

(CONTINUED)

91.

120 CONTINUED: 120

MRS. ROBINSONListen to me very carefully, Benjamin. You are not to see Elaine again. Ever. Those are my orders. Is thatclear?

Ben stops the car in front of a house halfway down the block.

BENMrs. Robinson -

MRS. ROBINSONI can makes things quite unpleasant.

BENHow?

MRS. ROBINSONIn order to keep Elaine away fromyou - I am prepared to tell hereverything.

BENI don't believe you.

MRS. ROBINSONThen you'd better start believingme.

BENMrs. Robinson, don't wreck it. I'masking you please not to wreck it.

MRS. ROBINSONGo home now.

BENI just don't believe you would dothat.

Mrs. Robinson looks at him for a moment.

MRS. ROBINSONTry me.

There is a pause while Ben looks at her expression. Then hegrabs the keys out of the ignition, opens the door on hisside and jumps out of the car, carrying the package.

TRACK WITH BEN as he runs up the street and up the drivewaytoward the Robinson house. Ben gets to the front door.

(CONTINUED)

92.


BEN(as he goes throughthe door)

Elaine!

121 121INT. ROBINSON HALLS, STAIRS, DOOR TO ELAINE'S ROOM - DAY

Ben runs in.

BENElaine?

ELAINE'S VOICEBenjamin?

BENI'm coming up.

ELAINE'S VOICEI'm not dressed yet.

Ben runs up the stairs. He still carries the package.

Ben gets to the top just as Elaine comes out of the door toher bedroom. She is wearing a skirt and slip and carryingone shoe.

ELAINEBenjamin - I said I wasn't dressed -

Ben pushes her back into her room.

122 122INT. ELAINE'S ROOM - DAY

ELAINEWhat's the matter?

BENYou've got to go over the back fenceand I'll meet you on the corner.

ELAINEBenjamin - what's happening?

BENHurry up. Put your shoes on.

Ben turns and looks.

SHOT - OVER BEN'S SHOULDER

Mrs. Robinson is just entering the house.

(CONTINUED)

93.

122 CONTINUED: 122

BENNO.

He turns around.

123 123NEW ANGLE

Elaine is standing in the doorway watching him. She stillholds the shoe in her hand.

BENWhy aren't you ready?

ELAINEBecause I want to know what'shappening.

SOUND of Mrs. Robinson's FOOTSTEPS in the hall below.

BENThere isn't time!

124 124INT. ELAINE'S ROOM - DAY

Ben pulls Elaine around behind the open door. They stand inthe angle formed by the door and the wall as though they arehiding from someone. Mrs. Robinson's FOOTSTEPS can be heardcoming up the stairs.

BENElaine - I have to tell you something.

He holds her against the wall in the corner.

ELAINEWhat is it?

BENThat woman -

ELAINEWhat?

BENThat woman. The older woman.

ELAINEYou mean the one who -

BENYes. The married woman - itwasn't just some woman -

(CONTINUED)

94.

124 CONTINUED: 124

Mrs. Robinson's FOOTSTEPS can be heard coming down the hall.

ELAINEWhat are you telling me?

The FOOTSTEPS stop.

ANGLE - CLOSE ON ELAINE

Back in the corner. Mrs. Robinson's face appears in thecrack in the door at Elaine's shoulder. Elaine looks fromBen's face to the crack through which she can see her mother'seyes staring.

ELAINEPlease - will somebody tell me -

She looks back at Ben, then back at her mother's face again.

Mrs. Robinson's eyes watch her through the crack in the door. Elaine looks away.

ELAINEOh - no.

Ben backs up.

BENElaine -

ELAINEOh my God -

Moving along the wall as though to keep as far from Ben aspossible, Elaine moves away from the door.

BENPlease.

Elaine walks a few steps toward the other side of the roomthen turns back toward Ben. The tears are starting out ofher eyes.

BENNo - don't cry -

ELAINEGET OUT!

BENDon't cry.

(holds the packageout to her)

(CONTINUED)

95.


ELAINEGet out of here.

She moves toward him as though to hit him. He backs intothe hall. Elaine SLAMS the door shut.

ELAINE(holding the door)

Get out!

125 125INT. ROBINSON HALL - DAY

Mrs. Robinson stands at the end of it, looking at Ben.

MRS. ROBINSON(calmly)

Goodbye, Benjamin.

126 126SHOT - BENJAMIN

He looks at her in horror. He starts to back down the halltoward the stairs, holding the package against his chest.

127 127INT. SPECIAL SET - ROBINSON HALL - DAY - SHOT - PULLING BACKFROM MRS. ROBINSON

She is standing there, perfectly calm. She gets further andfurther away as though it is a very long hall in a very baddream.

FADE OUT:

FADE IN:


Ben sits cross-legged on his bed in the dark, his back againstthe fishtank, smoking.

DISSOLVE THROUGH TO:

129 129EXT. ROBINSON HOUSE - DAY

Ben drives by in his car. He looks at the house.

DISSOLVE TO:

130 130INT. BEN'S ROOM - DAY

Ben dressed differently, stands by the window overlookingthe backyard. Over his shoulder, we can see Mr. Braddockdown by the pool, dressed in a sweater, cleaning the poolwith a long-handled scoop.

(CONTINUED)

96.

130 CONTINUED: 130

Mr. Braddock looks up at Ben's window. Ben moves aside.

DISSOLVE TO:

131 131EXT. ROBINSON HOUSE - DAY

Ben is standing behind a tree watching the Robinson house. In the driveway of the Robinson house, Elaine is gettinginto the Robinson car. Mr. Robinson is putting Elaine'sluggage into the car. Mrs. Robinson stands at the door. Mr. Robinson gets into the car and starts it. The car drivesdown the driveway and down the street.

DISSOLVE TO:


Ben, dressed differently again, sits in a chair by his desk. He is writing. On the piece of paper is written:

DEAR ELAINE, ELAINE, ELAINE, ELAINE, and her name severaldozen times. He stops and looks up.

DISSOLVE TO:

133 133INT. BRADDOCK KITCHEN - DAY

It is early morning. We see a swinging door pushed open toreveal: Mr. Braddock, dressed in a bathrobe, standing atthe kitchen counter by the window through which we can seean orange tree. Mr. Braddock is pouring orange juice from aMINUTE MAID container. Ben stands inside door.

MR. BRADDOCKSay that again.

BENI'm going to marry Elaine Robinson.

Mr. Braddock starts to smile.

MR. BRADDOCKWell - well - well -

He almost giggles as he crosses to Ben and takes his hand toshake it. Mrs. Braddock appears in the doorway. Ben isshaking his father's hand.

MRS. BRADDOCKWhat's happening?

(CONTINUED)

97.

133 CONTINUED: 133

MR. BRADDOCKBen says he and Elaine are gettingmarried.

MRS. BRADDOCKI don't believe it.

MR. BRADDOCKThat what he says. Right?

BENI'm going up to Berkeley today.

MRS. BRADDOCKOh, Ben - this is so - exciting -

MR. BRADDOCKCome on, let's call the Robinsons.We've got something to celebrate.

BENNo. I think you'll want to wait onthat.

MRS. BRADDOCKThey don't know?

BENNo - they don't.

MRS. BRADDOCKWell - when did you decide all this?

BENAbout an hour ago.

MR. BRADDOCKWait a minute. You talked to Elainethis morning?

BENNo. She doesn't know about it.

MR. BRADDOCKShe doesn't know that you're comingup to Berkeley?

BENNo. Actually - she doesn't knowabout us getting married yet.

MRS. BRADDOCKWhen did you two talk this over?

(CONTINUED)

98.


BENWe haven't.

MR. BRADDOCKBen - this whole idea sounds prettyhalf-baked.

BENNo - it's not. It's completely baked. It's a decision I've made.

MRS. BRADDOCKBut what makes you think she wantsto marry you?

Ben picks up his suitcase, walks to the door and turns.

BENShe doesn't. To be perfectly honest,she doesn't like me.

DISSOLVE TO:

134 134EXT. ROAD NO 1 TO BERKELEY - DAY

Ben driving his car (left to right)

BEN'S VOICE(over)

Dear Elaine - I am now visitingBerkeley, after growing somewhatweary of family life. I have beenmeaning to stop by and pay my respectsbut am not entirely certain just howyou feel about seeing me after theincident involving myself and yourmother. It was certainly a seriousmistake on my part but not seriousenough. I hope --

The last part runs down like a record on an old gramaphone.

CUT TO:

135 135EXT. ROAD NO. 2 - TO BERKELEY - DAY

Ben driving his car (left to right)

BEN'S VOICE(over)

Mr. and Mrs. G. L. Robinson takegreat pleasure in announcing thewedding of their daughter...

(CONTINUED)

99.

135 CONTINUED: 135

It runs down.

CUT TO:

136 136EXT. GAS STATION - DAY

Ben's car is being gassed up. It is a huge gas station withdozens of pumps and many neon lights. Ben runs to a seriesof vending machines. He pushes quarters into them, receivingcigarettes, a sandwich, an apple, a cup of coffee. Balancingthem all carefully, he runs back to the car, climbs in, putshis purchases on top of the dashboard, hands the attendant abill and drives off.

CUT TO:

137 137EXT. ROAD NO. 3 TO BERKELEY - DAY

Ben driving (left to right) and eating.

BEN'S VOICE(over)

Honey - I'm home.

ELAINE'S VOICE(over)

Hi - Sweetheart.

BEN'S VOICE(over)

Where are the kids?


Oh, they're having a wonderful time -spending the day at Mother's - she'steaching them to...

It runs down.


BEN DRIVING (LEFT TO RIGHT)

BEN'S VOICE(over)

Dear Mom and Dad. You may havewondered why Elaine and I haven'twritten in such a long time, but thepostal sytem here in Greenland isn'tthe most efficient. Life among thesewonderful natives...

(CONTINUED)

100.

138 CONTINUED: 138

It runs down.

CUT TO:


BEN DRIVING (LEFT TO RIGHT)

MAN'S VOICE(over)

Do you, Benjamin Braddock take thiswoman, Mrs. Robinson, for your Mother-in-law, to love, cherish and...

It runs down.

CUT TO:

140 140EXT. TOLL BOOTH ON THE OAKLAND BRIDGE - DAY

Ben barely stops as he hands the change out the window ofthe low-slung sports car and up to the toll taker.

CUT TO:

141 141EXT. OAKLAND BRIDGE - DAY

Ben driving over bridge (left to right)

MRS. ROBINSON'S VOICE(over)

Benjamin - you and Elaine have madesuch a wonderful marriage. I oftenlaugh when I remember those nightsat the Taft.

BEN'S VOICE(over)

Yes - how long ago that all seems.

MRS. ROBINSON'S VOICE(over; chuckling)

I'll never forget how peeved I waswhen I first...

It runs down...

PAN THE CAR past us and HOLD ON it as it disappears in thedistance.

DISSOLVE TO:

101.

142 142INT. WENDELL HALL RECEPTION AREA - DUSK

CLOSE ON BEN as he comes through the door. MOVE WITH HIM ashe wanders around the the commons room which is filled withSTUDENTS. Girls SINGING, couples necking; a MAN with a heavyknapsack. Ben walks to a LADY RECEPTIONIST NO. 1, who sitsat a reception desk.

LADY RECEPTIONIST NO.May I help you?

BEN(too loudly)

Elaine Robinson.

LADY RECEPTIONIST NO.Yes?

BEN(clearing his throat)

Elaine Robinson. Does she live here?

The Receptionist runs her pencil along a list of names underthe glass top of her desk. She finds it.

LADY RECEPTIONIST NO.Three-oh-eight. Shall I call herfor you?

The Receptionist's hand moves to the receiver of a phone onthe desk. Ben looks at her hand for several seconds. Hetakes a step backward. Her hand starts to lift the receiver.

Ben moves backward, puts his hand up as though to stop herand shakes his head, speechlessly.

143 143SHOT - RECEPTIONIST

Looking at Ben.

144 144SHOT - BEN

Move with him as he moves past the students toward the door.


145 145EXT. CAMPUS - DUSK

PAN AROUND CAMPUS in a circle, ending on a CLOSEUP OF BEN,standing in the middle of the deserted campus, looking around,lost.


102.

146 146INT. ROOMING HOUSE HALL AND STAIRS - NIGHT - BEN AND

MR. MCCLEERYFrom the bottom of the stairway,shooting up. MR.

McCLEERY is the landlord of the rooming house. They areclimbing a flight of stairs, Mr. McCleery first, then Ben,carrying his suitcase.

MR. MCCLEERYYou a student?

BENNot exactly.

Mr. McCleery stops and turns. Ben almost runs into him.

MR. MCCLEERYWhat's that?

BENI said - not exactly - no.

MR. MCCLEERYWhat are you then?

BENWell - I'm just sort of travelingthrough.

Mr. McCleery takes a couple of steps up, Ben following andstops again.

MR. MCCLEERYI like to know who's living in myhouse. I like to know what my boysare up to.

BENAhhh.

Mr. McCleery just looks up at him.

BENI'm not up too much, actually,I'm just visiting. I mean -I've always wanted to see Berkeley.

Mr. McCleery takes a couple more steps and stops again.

MR. MCCLEERYYou're not one of those agitators?

(CONTINUED)

103.

146 CONTINUED: 146

BENWhat?

MR. MCCLEERYOne of those outside agitators.

BENOh - no sir.

MR. MCCLEERYI hate that. I won't stand for it.

He looks at Ben searchingly, then turns and continues up thestairs and down the hall.

CUT TO:

147 147INT. ROOMING HOUSE - BEN'S ROOM - NIGHT

PAN THE ROOM in a circle, seeing a sink in one corner, abed, a bureau, a table, a lamp, a chair, a window thatoverlooks a Berkeley street - ending in a CLOSEUP OF BEN,standing in the middle of it, looking lost.

CUT TO:

148 148EXT. WENDELL HALL - QUADRANGLE - DAWN

DAWN. The campus is empty except for Ben who, dressedcarefully in his black suit, sits on a bench in the quadrangleoutside of Wendell Hall.

149 149EXT. WENDELL HALL QUADRANGLE - SERIES OF DISSOLVE (OR CUTS)-DAY

During which Ben remains static while the quadrangle andthet area around him fill up with students; walking, talking,hurrying to class, strolling, sitting, reading, handing outpetitions, etc.

150 150EXT. CAMPUS BUILDING - DAY - LONG SHOT

Elaine comes out. She walks, carrying her books, in Ben'sdirection.


He sees her and stiffens.


Approaching from the distance.

104.

153 153SHOT - BEN

He stands.

154 154SHOT ELAINE

As she walks, she is joined by another GIRL with whom sheconverses as they walk.

155 155SHOT - BEN

Watching. He takes a step forward.

SHOT - ELAINE AND GIRL

As they approach, they are joined by a tall BOY with a beard.

156 156SHOT - BEN

He starts toward them, falters, straightens himself.

SHOT - ELAINE, GIRL, BOY

They are getting quite near. Suddenly they are joined byTHREE AFRICAN EXCHANGE STUDENTS, in tribal robes.

They all greet each other and continue to walk toward us.

157 157SHOT - BEN

He looks at the massed group moving toward him, horror takingover his face. He starts forward. As he passes Elaine andher friends he seems to take a deep breath and hold it.

She stops and slowly turns to look in his direction. Hercompanions also stop. Ben changes his direction and makes acircle to his left as though he has just changed his mind. He looks at her. He does not stop walking.

He makes a slow circle around her as he speaks.

BENElaine. Hey - what a surprise.

(not quite looking ather)

Say - I thought I remembered thatyou were going to school up here- well - we'll have to get togethersometime - I'll be up here myselffor a little while.

105.

158 158SHOT - BEN'S POV

Elaine and the others staring at him.

159 159SHOT - BEN

BENIt certainly has been nice -think I'm late - yes, I am -

He turns and walks away from them. They stand still watchingthem go. He starts to walk faster and faster.

They watch him as he gets further and further away and thenbreaks into a run. He disappears in the distance.

SOUND: Footsteps running, a door opening and closing,footsteps running upstairs, a door opening and slamming.

CUT TO:

160 160INT. ROOMING HOUSE - BEN'S ROOM - DAY

Ben leans with his back against the closed door, breathingheavily.

DISSOLVE TO:

161 161EXT. VARIOUS CAMPUS LOCATIONS - DAY - SERIES OF SHOTS

Ben following and watching Elaine.

DISSOLVE TO:

162 162INT. TELEGRAPH STREET RESTAURANT - DAY

Ben is sitting at a table by the window through which we cansee the street. He is drinking a beer. Other tables arefilled with students having animated discussions.

Ben starts to pour some beer from the bottle into the glass. He stops as he sees something through the window.

He leans forward.

Elaine comes out of a bookstore across the street. Shecrosses the street and moves to a bus stop. He stands,fumbles in his pocket for money, puts a dollar on the tableand rushes out.

106.

163 163EXT. RESTAURANT TELEGRAPH STREET - DAY

Ben comes out of the door just as Elaine gets into a bus andthe doors close behind her.

The bus starts off. Ben runs after it. The bus gets to thenext corner and stops for a red light. Ben catches up withit, runs to the front door and knocks on the door. The dooropens and he climbs in.

164 164OMITTED

165 165INT. BUS NO. 1 - DAY - SHOT ELAINE

She is seated next to an OLDER LADY by the window immediatelyin front of the rear exit door. She keeps looking out thewindow, almost holding her breath as she hears:

BEN'S VOICE(getting closer as hemoves past peopletoward her)

Excuse me - I'm sorry - I wonder ifI could get by - excuse me -

There is a pause and then, immediately behind her:

BEN'S VOICE(cheerfully)

Well - how about this for acoincidence.

166 166NEW ANGLE

Ben's face is right behind Elaine, between her and the olderlady sitting next to her. Ben is standing on the steps tothe rear exit door. Elaine continues to look out the window.

BEN(leaning in a little)

I was wondering where you were headed.

Elaine doesn't answer. The lady sitting next to Elaine takesa look at her, turns around and looks at Ben, then looks atElaine again.

ELAINEI'm meeting someone.

BENAh. Where?

She doesn't answer.

(CONTINUED)

107.

166 CONTINUED: 166

BENWhere are you meeting this person?

ELAINEAt the Zoo.

BENThe Zoo. They have a pretty goodone here, do they?

ELAINEI've never been to it.

BENOh. Well, I haven't either. I mightjust ride out there with you.

Hold on them riding.

CUT TO:

167 167EXT. ZOO - DAY

Ben and Elaine are walking along in front of one of theoutside animal cages. Ben is walking a step or two behindElaine. He is darting glances to the right and left.

BENIs that him over there?

ELAINENo.

BENWhere did he say he was going tomeet you?

ELAINEI thought he said by the monkey house.

BENOh.

She stops. Ben stops.

ELAINEBenjamin - I would like to know whatyou're doing here.

BENHere? In Berkelely?

(CONTINUED)

108.

167 CONTINUED: 167

ELAINEYes.

BENWell, I have this very pleasant roomon Carter Street - and I've beengetting to some classes -

ELAINEBut you're not enrolled.

BENNo. I just sit in. They don't seemto mind. They've been very congenialabout it.

She looks at him and starts to shake her head.

ELAINEBenjamin - you're - I don'tknow what to say - you're --

BENMaybe we could get together sometime and talk about it.

ELAINEReally incredible -

BENHere he comes.

ELAINEWhat?

BENI've got a real feeling that this isthe fellow.

Elaine looks. A good-looking young man is striding brisklytoward them. It is CARL SMITH.

CARL(waving)

Elaine!

BENHe certainly is a good walker.

Carl strides up to them. He takes the pipe out of his mouthand puts it in his pocket. He reaches out and takes Elaine'shands.

(CONTINUED)

109.


CARLAm I late? I'm sorry.

BENWe thought you said by the monkeyhouse.

Carl frowns and looks up over Elaine's shoulder at Ben.

Ben smiles.

ELAINEThis is Benjamin Braddock.

Carl Smith. Benjamin rode here with me on the bus.

CARLGlad to meet you, Ben.

Ben steps forward and grasps Carl's hand.

BENGreat meeting you, Carl.

Carl steps back and puts an arm around Elaine's shoulder.

The three of them look at each other for a moment.

BENSwell seeing you. Have a good time.

Ben turns and starts walking back the way he came. Carl andElaine turn and go in the opposite direction. Ben stopsafter a few steps and walks over to one of the cages. Hegrips the rail with his hand and looks back at:

168 168SHOT - CARL AND ELAINE

Walking away, his arm over her shoulder, his other handgesturing with the pipe in it as he talks.

169 169SHOT - BEN

As he watches them go. His artificial smile disappears.

The agony is such that he has to steady himself with hishand on the rail. He turns his face away, toward the cage. There is an animal in it, staring at Ben. They look at eachother. There is a box - an automatic device with a recordeddescription of the animal - that begins to deliver itsRECORDED MESSAGE.

DISSOLVE TO:

110.


Ben is standing by the window, looking out.

171 171EXT. ROOMING HOUSE - STREET - DAY

SHOT - THROUGH THE WINDOW

Elaine is walking up the street toward the rooming house.

172 172INT. ROOMING HOUSE - BEN'S ROOM - DAY - SHOT - BEN

He jumps to the other side of the window and peers outcarefully.

173 173EXT. ROOMING HOUSE - STREET - DAY - SHOT - THROUGH THEWINDOW

Elaine turns in and disappears into the rooming house frontdoor below.

174 174INT. ROOMING HOUSE - BEN'S ROOM AND HALLWAY - DAY - SHOT

175 175BEN

He runs to the bed and puts the covers back into place.

He goes to the window sill, picks up an empty beer can,crosses to the bureau, opens a bureau drawer. He crosses tothe wastepaper basket under the sink, bends down and takes anewspaper out of it. He crosses to the chair and sits down. He holds the newspaper in front of him. It is hopelesslycrumpled. He gets up, crosses to the bureau, opens a drawerand takes out a traveling iron.

He kneels down, puts the newspaper on the floor and tires tostraighten it out with the iron.

There is a KNOCK on the door. He rises, puts the iron backin the drawer as quietly and quickly as he can, then back tothe chair, sits down and holds the newspaper on his lap.

BENCome in.

There is another KNOCK. Ben crosses to the door and opensit. Elaine is standing in the hall.

ELAINEI want to ask you a question.

BENCome in.

(CONTINUED)

111.

175 CONTINUED: 175

ELAINENo. I want to know why you're herein Berkeley?

BENBecause - I am.

ELAINEIs it because I'm here?

BENWhat do you think?

ELAINEI think it is.

Ben nods.

ELAINEI said I think it is.

BENAll right then! Yes!

ELAINEWell, I want you to leave.

BENElaine - I love you.

ELAINE(looking down)

How could you do that, Benjamin?

Ben moves in behind her and puts his hand on her arm.

ELAINEDo you just hate everything?

How could you possibly rape my...

BENWhat?

ELAINEI don't understand -

BENDid you say rape her?

ELAINE- how you - how anyone - coulddo a thing like that.

(CONTINUED)

112.


BENWhat did she say?

ELAINE(holding his arm)

Let me go.

BENYou've got to tell me what she said.

He touches her hair.

ELAINEWhy?

BENBecause it isn't true.

ELAINEI don't feel well.

Ben pushes her down softly onto the bed. He kneels alongside her.

BENTell me.

Ben sits next to her and puts his hand on her shoulder.

ELAINEShe said she was having a drink inthe hotel with a friend.

You waited for her in the parking lot and told her she wastoo drunk to drive home and that you would get her a roomfor the night.

BENThen what?

ELAINEThen you took her upstairs and youraped her.

BENElaine - that is not what happened.

She puts her hands on his shoulder.

ELAINEPlease let me go.

(CONTINUED)

113.


BENAll right - but listen to me.What happened was there was thisparty at my parents. I drove yourmother home - then we went upstairsto see your portrait -

Elaine tightens her arms around his neck.

ELAINEDon't tell me -

BEN- and when we got up in the room shestarts taking her her clothes off -and -

ELAINEBenjamin - this is my mother!

BEN- suddenly there she was withoutany clothes on - I mean reallynaked -

Ben is almost lying on top of her. Elaine screams - a long,loud scream. Ben looks at her. He leaps off the bed andruns to the sink. He fills a glass with water and brings itto Elaine. He starts toward the door.

SOUND OF FOOTESTEPS on the stairway and in the hall.

Ben goes to the closet, opens the door, takes a jacket froma hanger and puts it on.

SOUND: A KNOCK on the door.

MR. MCCLEERY'S VOICEWhat's going on in there?

Elaine sits up and drinks the water. Ben looks at her thengoes to the door and opens it.

BENOh - hello, Mr. McCleery.

MR. MCCLEERYWho screamed?

BENIt's all right, Mr. McCleery.

(CONTINUED)

114.


MR. MCCLEERYScreaming isn't all right. Not inmy house it isn't.

BENIt was just a visitor. But it's allright now.

Several BOYS are gathering in the hallway trying to see intothe room. Ben edges through the door into the hallway.

176 176INT. ROOMING HOUSE HALLWAY - DAY

MR. MCCLEERYWhat did you do to her?

BENLook - she's all right. She's upsetand she screamed. But she's okaynow.

A BOYShall I get the cops?

BENWhat?

A BOYI'll get the cops.

He starts for the stairs.

BENHey - wait a minute. Now damn it -look.

He opens the door a little way. They all try to see in.

BENSee - she's just having some water. Now there's no need for the cops oranything.

MR. MCCLEERYAll right, boys - I think you canget back to your rooms. I don'tthink we'll have any more of thisagitation. Will we, Braddock?

BENNo, sir.

(CONTINUED)

115.

176 CONTINUED: 176

The boys start back to their rooms. Mr. McCleery and Benstand and look at each other for a few seconds.

MR. MCCLEERYI want you out of here.

Mr. McCleery turns away and walks down the hall and startsdown the stairs.

BENMr. McCleery?

MR. MCCLEERYYou heard me. Out of here.

BENWhat for?

MR. MCCLEERY(going down the stairs)

Because I don't like you.

Mr. McCleery disappears down the stairs. Ben turns and goesback into the room.


Elaine is standing at the sink. She is putting water on herface. Ben goes to the closet and takes out his suitcase andcarries it to the bed.

ELAINEI'm sorry I screamed.

Ben opens the suitcase.

ELAINEBenjamin, when you came up here,what did you think was going to happenbetween us?

BENElaine - right now I don't feel liketalking much. I'm sorry abouteverything but I think I'll just dothis now.

He stands, looking into the empty suitcase.

ELAINECan I just sit here while you'repacking?

(CONTINUED)

116.

177 CONTINUED: 177

BENIf you want.

Elaine sits in the chair. She watches him as he goes to thebureau, takes some shirts from a drawer and puts them in thesuitcase, then goes back to the bureau. He gets down on hisknees and looks under the bureau.

ELAINEWhat are you looking for?

BENMy belt.

ELAINEDon't you have it on?

BENNo. I have two. The other one isthe one I'm looking for.

(he reaches under thebureau)

What's this?(he brings out a marble)

It's from my grandmother.

ELAINEThe marble?

BENThe belt I'm looking for was from mygrandmother.

ELAINEOh.

Ben takes the marble to the suitcase and packs it.

ELAINEWhat are you going to do now?

BENI don't know.

He goes back to the bureau, gets some socks and underwearand carries them to the suitcase.

ELAINEAre you going home?

BENNo.

(CONTINUED)

117.


ELAINEWell - where are you going?

He goes back to the bureau, opens a drawer, takes out some T-shirts and the beer can and carries them to the suitcase.

BENElaine - you're going to have tostop asking me that.

He packs the T-shirts, then carries the beer can back to thebureau and puts it back in the drawer, takes some ties fromthe drawer and crosses to the suitcase. Elaine gets up,goes to the door and opens it.

ELAINEI don't want you to leave tomorrow.

BENI don't understand.

ELAINEI don't want you to go anywhere untilyou have a definite plan.

BENBut Elaine -

ELAINEGoodbye.

She walks out, shutting the door behind her. He crosses tothe window.

178-185 OMITTED

185A 185AEXT. ROOMING HOUSE STREET - DAY

Past Ben, through the window, we see Elaine walking away.

She walks the length of the street and disappears.

DISSOLVE TO:

186 186INT. ROOMING HOUSE - BEN'S ROOM - NIGHT

Ben asleep in his bed. Suddenly he sits up.


Standing in the darkness by the door.

(CONTINUED)

118.

187 CONTINUED: 187

BENWhat's happening?

He gets out of the bed.

ELAINEBenjamin?

BENWhat?

ELAINE(taking a step forward)

Will you kiss me!

He goes to her and they kiss.

BENWill you marry me?


BENYou won't?

ELAINEI don't know.

BENBut you might.

ELAINEI might.

BENIs that so? You might marry me?

ELAINEYes.

BENWhen?

ELAINEI don't know.

BENHow about tomorrow? I don't meanto be pushy but -

ELAINEI don't know. I don't know what'shappening.

(CONTINUED)

119.


BENYou mean you're confused?

She nods.

BENWell - look - don't be confused.We're getting married.

ELAINEI don't see how we can.

BENWe just can.

ELAINEI have to go back now.

She goes to the door.

BENElaine - are you serious about this?

ELAINEI'll think about it.

BENYou really will?

ELAINEYes.

She opens the door and steps into the hall. He goes to thedoor.

BENWell - let's get together sometime.

He closes the door.

BENGood God!

DISSOLVE TO:

120.

188 188INT. ROOMING HOUSE DOWNSTAIRS HALL - DAY

CLOSEUP OF TELEGRAM

addressed to MR. BENJAMIN BRADDOCK SOUND: FOOTSTEPSdescending stairs. Someone WHISTLING.

The FOOTSTEPS and WHISTLING get nearer and stop.

Hands come in and pick up telegram, open the envelope andunfold, the telegram reads:

LEAVE BERKELEY IMMEDIATELY OR SERIOUS REPEAT SERIOUS TROUBLEWILL RESULT.

MRS. G. L. ROBINSON

PAN UP TO BEN. He crumples the telegram in his hand.

CUT TO:

189 189EXT. CAMPUS NEAR CLASSROOM BUILDING - DAY

CLOSE UP ONE BEN'S HAND fiddling with the crumpled telegram.

Students are moving quickly from building to building.

Ben is walking alongside Elaine.

BENWe could go down and get our bloodtests tomorrow.

ELAINETomorrow?

BENOr this afternoon. It's a good dayfor it.

ELAINEBenjamin - I haven't even said I'llmarry you yet.

BENWe'll need our Birth Certificates.I happen to have mine with me.Where's yours?

They move up the steps of a classroom building. Ben pushesthrough a lot of students to keep up with Elaine.

CUT TO:

121.

190 190INT. CLASSROOM BUILDING CORRIDOR - DAY

They walk down a corridor. On each side are open doors toclassrooms with students filing into each of them.

ELAINEI just don't think it would work.

BENWhy wouldn't it?

A bell rings. Elaine turns into one of the doors. Ben isleft in the hall. He looks around. All the doors in theclassrooms close. He leans against the wall.

191 191ANOTHER ANGLE - BEN

Standing poised by the door. The bell rings. The classroomdoors open and students start to file out. Elaine comes outof the classroom.

BENWhy wouldn't it?

ELAINEI just don't think it would...

Elaine starts walking down the corridor towards the exitdoor.

Ben follows her, moving out of the way of the other students.

CUT TO:

192-193 OMITTED

194 194INT. GYMNASIUM - DAY

Elaine and twenty other girls are in basketball uniforms.

Two teams of girls are playing basketball. Elaine sits onthe bench, watching. Ben stands behind her. The girls areshouting and clapping and jumping up and down.

BENTomorrow then - can we get our bloodtests tomorrow morning?

She turns and looks at him.

ELAINEWhy don't you just drag me off ifyou want to marry me so much?

(CONTINUED)

122.

194 CONTINUED: 194

BENWhy don't I just drag you off? Allright - I will. Right after we getthe blood tests.

ELAINEWell - I have to see Carl first.

BENCarl who?

Elaine jumps up, applauding a shot.

BENCarl who?

ELAINECarl Smith. He's a medical student. We've known him for years.

BENWho - that guy at the Zoo?

ELAINEYes.

BENWhy do you have to see him?

ELAINEWell -- I said I might marry him.

Elaine and several other girls run onto the court as a numberof girls run off the court to the bench.

BEN(yelling after her)

You WHAT?

CUT TO:

195 195INT. LIBRARY - DAY

Ben is seated across a study table from Elaine. There aremany other students scattered around the room.

BENHow did he do it? Did he get downon his knees? He didn't get down onhis knees, I hope.

ELAINENo, Benjamin.

(CONTINUED)

123.

195 CONTINUED: 195

BENWell, what did he say? I'm curious.

ELAINEHe said he thought we'd make a prettygood team.

BENOh no. He said that.

ELAINEShhhh.

BENWhere did he do it?

She starts to get up.

BENI'd like to know where it happened?

She starts to move away.

BENIt wasn't in his car, was it?

CUT TO:

196 196EXT. WENDELL HALL - DAY

Ben and Elaine are standing at the entrance.

BENAre we getting married tomorrow?

ELAINENo.

BENThe day after tomorrow?

ELAINEMaybe we are and maybe we aren't.

She goes through the doorway into Wendell Hall. Ben remainsstanding in exactly the same positin. After a few momentsthe door opens and Elaine comes out, steps quickly to Ben,kisses him, then runs back inside. Ben turns and startsaway from the door. The door opens again. Ben turns backand takes a step toward the door, smiling expectantly. A

(CONTINUED)

124.

196 CONTINUED: 196

tall bearded MAN comes out and goes past Ben. Ben breaksup.

CUT TO:

196A 196AEXT. BERKELEY STRRET - DAY

Through the window of a hippy jewelry store we see a sales-Woman modeling a ring for Ben. He nods, she takes it off,puts it in a box and gives it to him. He pays for it andexits PAST CAMERA, WHISTLING.

196B 196BINT. ROOMING HOUSE - DOWNSTAIRS - NIGHT

Ben enters carrying four oddly shaped boxes and some flowers.

197 197INT. ROOMING HOUSE STAIRS AND BEN'S ROOM - NIGHT

Ben is whistling happily as he runs up the stairs two at atime. He opens the door to his room and steps in. The roomis dark. The figure of a MAN is silhouetted against thewindow. Ben freezes just inside the door. There is a longpause.

MR. ROBINSON(clearing his throat)

Do you want - do you want to try andtell me why you did it?

BENMr. Robinson?

MR. ROBINSONDo you have a special grudge againstme? Do you feel a particularly strongresentment for me?

BENNo, it's not --

MR. ROBINSONIs there something I've said that'scaused this contempt? Or is it justthe things I stand for that youdespise?

BENIt was nothing to do with you, sir.

MR. ROBINSONWell, Ben, it was quite a bit to dowith me.

(CONTINUED)

125.

197 CONTINUED: 197

Ben takes a step forward.

BENNow look - please -

MR. ROBINSONBen, I think we're two civilizedhuman beings. Do you think it'snecessary to threaten each other?

BENI am not threatening you.

MR. ROBINSONDo you want to unclench your fists,please? Thank you. I can see inthe dark, you know. I've been herequite a while.

BENI am trying to tell you I have nopersonal feelings about you, Mr.Robinson. I am trying to tell you Ido not resent you.

MR. ROBINSONYou don't respect me terribly mucheither, do you?

BENNo, I don't.

MR. ROBINSONWell, I don't think we have a wholelot to say to each other, Ben. I dothink you should know the consequencesof what you've done. I do think youshould know that my wife and I aregetting a divorce soon.

BENBut why?

MR. ROBINSONWhy?

BENIt shouldn't make any differencewhat happened.

MR. ROBINSONThat's quite a statement.

(CONTINUED)

126.


BENListen to me. We got - we got intobed with each other. But it wasnothing. It was nothing at all. Wemight - we might just as well havebeen shaking hands.

MR. ROBINSONShaking hands. Well, that's notsaying much for my wife, is it?

BENYou miss the point.

MR. ROBINSONDon't shout at me, Ben.

BENThe point is - I don't love yourwife. I love your daughter, sir.

MR. ROBINSONWell - I'm sure you think you do,Ben, but after a few times in bedwith Elaine I feel quite sure you'dget over that as quickly as you -

BENHUH?

MR. ROBINSONI think I've talked about this enough. I don't know how far I can go, Ben. I don't know if I can prosecute ornot, but I think maybe I can. Inthe light of what's happened I thinkmaybe I can get you behind bars ifyou ever look at my daughter again.I have seen Elaine and I have spentthe afternoon taking steps toinsure...

Mr. Robinson climbs across the bed to get to the door.

Ben takes a step toward him.

MR. ROBINSONStay away from me, Ben!

Mr. Robinson stands at the door.

(CONTINUED)

127.


MR. ROBINSONI don't want to mince words withyou. As far as Elaine's concernedyou're to get her out of your filthymind right now. Is that perfectlyclear to you? That's all, Ben. You'll pardon me if I don't shakehands with you.

Mr. Robinson opens the door and starts into the hall.

MR. ROBINSONI think you are filth.

Mr. Robinson turns back from the hall.

MR. ROBINSONI think you are scum.

Mr. Robinson starts down the stairs. Mr. McCleery is standingon the stairway, listening.

MR. ROBINSONYou are a degenerate!

Mr. Robinson turns and goes down the stairs, past Mr.

McCleery who looks up at Ben.

SHOT - BENHe walks to the door, looks out intothe hall at Mr.

McCleery, then shuts the door. Ben goes to the window andlooks out.

198 198EXT. ROOMING HOUSE STREET - NIGHT - WHAT HE SEES

On the street below, Mr. Robinson getting into a cab.

199 199INT. ROOMING HOUSE - BEN'S ROOM - NIGHT - SHOT - BEN

He runs out of his room.

200 200INT. ROOMING HOUSE HALL AND STAIRS - NIGHT

Ben runs down the stairs. Mr. McCleery is standing by thepay phone.

BENMr. McCleery - do you have somechange? I need to use the phone?

(CONTINUED)

128.

200 CONTINUED: 200

MR. MCCLEERYI want you out of here.

BEN(takes out some money)

Look - I'll give you ten dollars fora dime - I'll give you twenty - forGod's sake, will you let me use thatphone?

MR. MCCLEERYI am going to call the police now.

BENCould I make one phone call first?

MR. MCCLEERYGet out!

Ben stuffs the money back in his pocket and runs down thestairs and out of the building. Through the door we see himrun down the street and out of sight.

CUT TO:

201 201OMITTED

202 202INT. WENDELL HALL - DAY - CLOSEUP - LADY RECEPTIONIST #

LADY RECEPTIONIST #2(hanging up phone)

Elaine Robinson has left the school.

CUT TO:

203 203CLOSEUP - BEN

Ben reacting.

LADY RECEPTIONIST #2Her roommate is coming down with anote for you.

204 204INT. WENDELL HALL - CORRIDOR - DAY - LONG SHOT

The elvator at the end of the hall opens and a fat GIRL walkstoward us with an envelope in her hand. She walks intoCAMERA.

CUT TO:

129.

205 205EXT. ROAD NO. 1 TO LOS ANGELES - DAY

Ben driving his car (right to left) SOUND: An ENVELOPE beingRIPPED OPEN.


Dear Benjamin - I promise you some-say I will write a long letter abouteverything but right now I can'tthank and all I can say to you isplease forgive me because I knowwhat I'm doing is the best thing foryou. My father is so upset you'vegot to understand. I love you, butit would never work out.

206 206EXT. STREET NO. 2 - NEAR ROBINSON HOUSE - NIGHT

Ben's car is parked two blocks from the Robinson house. Benhas just left the car and is making his way to the Robinsonbackyard.

207 207EXT. ROBINSON BACKYARD - NIGHT

Ben climbs a fence into the backyard and moves to the house.

He looks up at Elaine's bedroom window.

BEN(a whispered shout)

Elaine - Elaine -

He picks up a pebble and throws it at the window.

208 208ANGLE ON BEN

He moves to the back door, takes off his shoes, puts theminto his jacket pockets, tries the back door. It opens andhe goes in.

209 209INT. SUNROOM - NIGHT

There are no lights. Ben moves through the house into thehall and up the stairway.

210 210INT. ROBINSON UPSTAIRS HALL - NIGHT

Ben goes to the door of Elaine's room and looks in. Thereis a light on in the room and the sound of someone movingaround. He goes in.

(CONTINUED)

130.

210 CONTINUED: 210

BENElaine?


As Ben moves further into the room, Mrs. Robinson, carryingsome of Elaine's clothes, comes out of Elaine's closet andmoves past Ben.


She does not stop, but walks casually past him into the hall.

212 212INT. ROBINSON UPSTAIRS HALL AND MRS. ROBINSON'S ROOM -

NIGHTBen follows her through the hallinto Mrs. Robinson's room.

BENWhere is she?

213 213MRS. ROBINSON'S ROOM - NIGHT

Mrs. Robinson, without stopping, puts Elaine's clothes downnext to a half-packed open suitcase on her bed and moves toa telephone on the night table. She lifts the receiver anddials zero. Ben follows.

MRS. ROBINSONHello. Get me the police, please.

BENWhere is Elaine?

MRS. ROBINSONI'll be with you in a moment,Benjamin.

(into phone)Will you send a police car to twelvehundred Glenview Road. We have aburgler here. Just a second. I'llask him.

(to Ben)Are you armed?

(into phone)No - I don't believe he is. Thankyou.

She hangs up.

(CONTINUED)

131.

213 CONTINUED: 213

BENWhat have you done to her?

MRS. ROBINSONI think we have everything quiteunder control now, Benjamin. Wouldyou like a quick drink before yougo?

She picks up a glass from the night table and takes a drink.

BENYou can't stop me from seeing her,Mrs. Robinson. I'll find her.

MRS. ROBINSONI'm sorry we won't be able to inviteyou to the wedding, Benjamin, butthe arrangements have been so rushed -

BENWhat the hell have you done?

SOUND of SEVERAL CARS turning into driveway.

MRS. ROBINSONAhh. I don't think you'll have timefor that drink after all.

BENI'll find her.

MRS. ROBINSONI don't think so.

The cars have reached the top of the driveway. SOUND of theSQUEAL of BRAKES and CAR DOORS OPENING.

214 214INT. ROBINSON HALLS - NIGHT

Ben dives head first into the hall, scrambles to his feetand runs to the back of the house.

215 215EXT. ROBINSON BACKYARD - NIGHT

Ben comes through the back door, runs to the back fence andvaults it. Lights start to go on in the house behind him.

216 216EXT. STREET - NIGHT

Ben, driving rapidly. He jams on the brakes and stops thecar in the middle of the street. Cars, HONKING move aroundhim as he sits, staring ahead.

(CONTINUED)

132.

216 CONTINUED: 216

BENWedding! God Damn it - wedding!

People are YELLING as him from the cars going by.

MR. ROBINSON'S VOICECarl - I think you and Elaine willmake a good team.

CARL'S VOICEYour father's right, Elaine. Youand I will make a darned good team.

Ben swings the car around in a U-turn and speeds off in theother direction.

217 217EXT. ROAD NO. 6 - TO BERKELEY - NIGHT (BECOMING DAY)

218 218SERIES OF SHOTS

Ben driving rapidly (left to right) past the landmarksestablished on the previous drive to Berkeley.

WOMAN'S VOICEWe have two Carl Smiths. Is it Carlwith a "C" or a "K"?

BEN'S VOICEI'm afraid I don't know.

WOMAN'S VOICEThe Karl Smith with a "K" teachesHistory of Advertising -

BEN'S VOICEAnd the other?

WOMAN'S VOICEThe one with the "C", Carl SmithJunior, is in our medical school.He lives at Gamma Delta Tau.

219 219EXT. FRATERNITY HOUSE - DAY

Ben pulls up in front of the Gamma Delta Tau house. He getsout of the car. He is haggard, tired and unshaven. The caris mud-spattered.

220 220INT. FRATERNITY HOUSE - HALL AND DINING ROOM - DAY

Ben enters the hall. Through a door can be seen a DOZEN ORSO FRATERNITY BROTHERS seated at a table chowing down.

(CONTINUED)

133.

220 CONTINUED: 220

It is breakfast. Ben walks into the dining room.

221 221INT. FRATERNITY DINING ROOM - DAY

The fraternity brothers are eating and talking noisily.

BENSay - fellows -

They stop eating and turn toward him.

BENDo any of you fellows know whereCarl Smith is?

FRAT BROTHER #1He took off in the middle of thenight to get married.

He goes back to his breakfast.

FRAT BROTHER #2Probably one step ahead of theshotgun.

BENDo you happen to know where he'sgetting married? I'm supposed to bethere.

FRAT BROTHER #2Why don't you ask Carter?

BENWould you happen to know where Imight find him?

FRAT BROTHER #2He's probably still in the sack.He's always in the sack.

They start to laugh.

FRAT BROTHER #3Or in the can.

They all laugh a great deal. Ben gives a polite smile.

CUT TO:

134.

222 222INT. FRATERNITY WASHROOM - DAY

A large steam-filled room with a row of FRATERNITY BROTHERSin front of a row of sinks, brushing, combing, shaving, etc. Ben is standing at the door.

MAN AT SINKHey, Carter - where's the Make OutKing getting married?

CARTER'S VOICE(echo sound)

Santa Barbara.

BEN(calling in thedirection of Carter'svoice)

You don't happen to know exactlywhere the Make Out King is gettingmarried, do you? I'm supposed to bethere.

CARTER'S VOICEI don't know. Maybe at his old man'shome.

MAN AT SINKYou going to the wedding?

BENYes.

MAN AT SINKGive the bride a message for me.Tell her to act surprised.

A great deal of laughter follows this gem.

CUT TO:

223 223EXT. ROAD NO. 1 TO SANTA BARBARA - DAY

Ben driving (right to left). The laughter from the previousscene can still be heard for a moment.

Ben is exhausted-looking. He opens the windows, turns theradio on and rubs his eyes.

135.

224 224EXT. VARIOUS ROADS TO SANTA BARBARA - DAY

SEQUENCE OF SHOTS

The car, moving speedily (right to left) south on the Highwayto Santa Barbara.

225 225EXT. FREEWAY EXIT AND GAS STATION - DAY

SHOT the CAR leaving the freeway under a SANTA BARBARA sign.

The car swings onto an off ramp and down to a street, turnsinto a gas station and stops near the office. Ben gets outof the car and runs into the office.

226 226INT. GAS STATION OFFICE - DAY

The clock on the office wall reads 2:05. The gas stationATTENDANT is sitting reading a stock car magazine.

BENDo you have a phone?

The attendant points. Ben reaches for the phone book hangingunder the pay phone.

227 227SHOT - BRINGING PHONE BOOK UP INTO FOCUS

The front of it says SANTA BARBARA TELEPHONE DIRECTORY.

Ben opens it to the S's. His finger runs down to the Smiths. There is at least a half a page of them.

228 228SHOT - THE PAGE

Ben's finger runs up and down and stops at the name:

Smith, Carl W., M.D.

229 229SHOT - BEN

He inserts a dime and dials. The attendant watches him.

SOUND of BUZZING from the phone. It CLICKS open.

230 230SHOT - TIGHT ON BEN

WOMAN'S VOICE657-2036

BENHello - who is this?

(CONTINUED)

136.

230 CONTINUED: 230

WOMAN'S VOICEThis is Dr. Smith's answering service.

BENIs the doctor anywhere?

WOMAN'S VOICEWell - you see - the doctor is athis son's wedding, but I'm sure it'sover by now. He should be checkingin any moment -

BENListen to me. I am Dr. Smith'sbrother - Reverend Smith - and I amsupposed to perform the ceremony.just got in - from - Portland -and I've forgotten what church - yousee?

231 231SHOT - THE ATTENDANT

The attendant puts down his magazine and stares.

232 232SHOT - TIGHT ON BEN

WOMAN'S VOICEOh. Well - I'm not sure - but youmight try the First Presbyterian.That's on Allan Street.

BENThank you.

WOMAN'S VOICECertainly hope you -

233 233SHOT - BEN

Ben hangs up the phone. He turns to the attendant.

BENAllan Street. Where is it?

ATTENDANT(suspiciously)

Six blocks up - three blocks over.

Ben runs out of the office. The attendant goes to the door.

137.

234 234EXT. GAS STATION - DAY

SHOT OF BEN

getting into car. The attendant is in the b.g.

ATTENDANTYou need any gas, Father?

BENI'm not a priest - I'm a minister.

The car drives out of the station.

235 235EXT. SANTA BARBARA STRRET - DAY

The car comes toward us through the traffic. It stops inthe intersection to make the turn.

236 236SHOT - INT. CAR

SOUND: THE ENGINE FAILING. Ben looks down.

237 237SHOT - THE GAS GAUGE

The needle is on "E".

238 238SHOT - BEN

He pumps the gas pedal.

239 239SHOT - THE CAR

It makes the turn and rolls to a stop by the curb.

SHOT - BENHe jumps out of the car, leaving thedoor open, and starts to run downthe street.

240 240EXT. STREET NEAR CHURCH - SHOT - WITH BEN AS HE RUNS

He looks up ahead on the other side of the street.

241 241EXT. CHURCH - WHAT HE SEES

The First Presbyterian Church.

242 242EXT. STREET IN FRONT OF CHURCH - DAY (2:15 PM) - SHOT OF

BENRunning across the street.

(MORE)

(CONTINUED)

138.

242 CONTINUED: 242

BEN (CONT'D)He stops for a moment and looksaround. There are a number of carsparked in front of the church. Amongthem is Mrs. Robinson's car. Benruns by it and up the steps to thefront doors of the church.

243 243EXT. CHURCH - DAY - SHOT OF BEN

He pulls at the doors. They are locked. Through the glassdoors, we can see to the front of the church where the weddingceremony is taking place.

244 244EXT. SIDE OF CHURCH - DAY - SHOT OF BEN

running around the side of the church. There are glasswindows and doors through which, as he runs, we can see theceremony continuing.

245 245EXT. BACK OF CHURCH - DAY

Ben runs, looking for an entrance. He goes all the way aroundthe church and stops at a side door. He opens the door andgoes in.

246 246INT. CHURCH - BALCONY - DAY

The balcony is between two huge windows, one of which looksout on the lawn outside, the other looks into the interiorof the church where the ceremony is taking place. The sunis coming through the window. Ben stops and looks throughthe inside window. The minister is just closing the book.

He says something and Carl and Elaine kiss.

BENOh, Jesus - God - no -

He puts his hands up against the glass and slumps. Theminister shakes hands with Carl, then takes Elaine's hand.

The ORGAN music starts to THUNDER.

BEN(straightening)

No!

He moves to the center of the window and begins to POUND onthe glass.

BENElaine - Elaine!

(CONTINUED)

139.

246 CONTINUED: 246

Ben's shadow is thrown across the celebrants. They all turnaround and look up at him.

247 247INT. CHURCH - DAY - SHOT FROM FRONT OF CHURCH

Ben is like a trapped moth, beating on the window and yellingsoundlessly.

248 248SHOT - MRS. ROBINSON

She looks up at Ben with a small, triumphant smile.

249 249SHOT - MR. ROBINSON

looking up at Ben.

250 250SHOT - CARL

looking up at Ben.


looking up at Ben. She moves down the aisle toward him,dazed.

252 252SHOT - ALL OF THEM

Mr. Robinson, Carl, and Mrs. Robinson are moving towardElaine. The ORGAN is playing LOUDLY. Ben's voice can beheard SHOUTING Elaine's name. The POUNDING on the glass canbe heard.

CARLWho is that guy? What's he doing?

MR. ROBINSONI'll take care of him.

MRS. ROBINSONHe's too late.

The other guests are adlibbing their confusion.


She turns back toward her mother, father and Carl as theycome toward her.

254 254CLOSEUP - ELAINE

looking at them. ALL SOUND STOPS, except for Ben's voice inthe distance shouting "ELAIN ELAINE ELAINE."

140.

255 255ELAINE'S POV - CARL

Frozen frame.

256 256ELAINE'S POV - MR. ROBINSON

Frozen frame.

257 257ELAINE'S POV - MRS. ROBINSON

Frozen frame.


Her face turning quickly to look up at Ben.

259 259ELAINE'S POV - BEN

Frozen frame. His face twisted with passion, his body spread-eagled against the glass.

260 260CLOSEUP - ELAINE

looking up at Ben.

ELAINE(screaming)

Ben!

The SOUND of the ORGAN and the guests' VOICES starts again.

261 261INT. CHURCH VESTIBULE - STAIRS - DAY - SHOT - BEN

He starts to go back down the stairs. He reaches the bottomof the stairs and goes through a door which leads into thevestibule of the church.

262 262INT. CHURCH VESTIBULE - DAY

Mr. Robinson is waiting for Ben, crouching, his arms spread.

Behind him is Elaine. Ben moves toward them. Mr. Robinsongrabs Ben around the waist. Ben twists away. Mr. Robinsongrabs Ben's collar and tears his jacket half off. Ben turnsand hits Mr. Robinson in the face. Mr. Robinson falls down. Ben moves to Elaine and grabs her hand. He pulls her towardthe doors.

BENCome on - don't faint.

141.

263 263SHOT - THE ORGANIST

His back to the action, clawing away at the organ obliviously.

264 264SHOT - THE DOOR

A man in clerical garb is guarding the door. Ben and Elainemove toward the door.

BENOut of my way!

Carl steps in and grabs Ben from behind. Ben breaks Carl'shold and picks up a gold cross off a nearby stand.

He begins to swing it, advancing toward Carl. Carl backs uptoward the other guests.

265 265NEW ANGLE

Mrs. Robinson steps to Elaine. She reaches out and takesElaine's wrist.

MRS. ROBINSONElaine - it's too late.

Elaine pulls her hand away.

ELAINENot for me.

266 266SHOT BEN

He turns toward the man standing in front of the door andraises the cross over his head.

BENMOVE!

The man moves away from the door. Elaine steps forward andopens the door. She and Ben go out.

267 267EXT. FRONT OF CHURCH - DAY

Ben jams the cross through the handles of the door. He grabsElaine's wrist.

BENRun, Elaine, run!

They start to run. Elaine trips and falls. Ben helps herup and they continue to run.

142.

268 268INT. CHURCH VESTIBULE - DAY

From inside the church vestibule. Through the glass doors,we can see Elaine and Ben running down the street.

The wedding party members are tugging furiously at the jammeddoors. Mrs. Robinson turns toward us and calmly begins toput on her gloves.

269 269EXT. STREET IN FRONT OF CHURCH - DAY

Ben and Elaine running along the sidewalk. Ben holds herhand and is pulling her. She still holds her flowers. Theyrun to a bus that is just closing its doors.

270 270SHOT - BEN

He bangs on the closed door of the bus. The door opens.

Ben climbs the step into the bus and pulls Elaine up afterhim. The doors close.

271 271INT. BUS NO. 2 - DAY - SHOT OF BEN, ELAINE AND DRIVER

Ben holds out a dollar bill.

BENHow much?

DRIVERWhere do you want to go?

BENTo the end.

The driver takes the bill and gives Ben some change.

Ben turns and pulls Elaine along to the back of the bus.

He pushes her into one of the seats and sits beside her. Ben looks toward the front of the bus.

272 272BEN'S POV

He sees the driver and the passengers, all turned around intheir seats and looking back at them.

273 273SHOT - BEN

BENLet's go. Let's get this bus moving!

143.

274 274SHOT - THE DRIVER

He turns and starts the bus.

275 275SHOT - BEN AND ELAINE

They are breathing heavily.

ELAINEBenjamin?

BENWhat?

She takes his hand.

276 276EXT. STREET IN FRONT OF CHURCH - DAY

Through the window in the back of the bus the church can beseen receding in the distance. There seem to be a number ofmen dressed in black running around in the street in frontof it.

FADE OUT:

THE END

the graduate screenplay by buck henry - raindance.org · 2. 7 ext. podium of amphitheatre - day 7...

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