THE GRADUATE
"THE GRADUATE"
Screenplay by
Buck Henry
Prod. No. 20055
FINAL DRAFT
March 29, 1967 Property of:
Lawrence Turman, Inc.
Mike Nichols
5451 Marathon St.
Hollywood, California
------------------------------------------------------------------------------------
1 EXT. AMPHITHEATRE - DAY
SHOT - HELICOPTER'S POV -
Moving through clouds. The clouds separate and, far below, we can
see a giant outdoor amphitheatre. There is no SOUND but the WIND.
As we move closer to the amphitheatre, we can hear SNATCHES OF WORDS
and PHRASES as though from a public address system.
2 EXT. AMPHITHEATRE - PODIUM - DAY - SHOT OF BEN
in cap and gown, standing in front of a microphone. The WIND is
BLOWING. He has to hold on to the papers from which he is reading.
3 EXT. AMPHITHEATRE - SHOT OF AUDIENCE - DAY
Thousands of expressionless STUDENTS are sitting there.
4 EXT. AMPHITHEATRE - SHOT OF PODIUM - DAY
BEN
- and today it is right that we
should ask ourselves the one most
important question: What is the
purpose of these years, the purpose
for all this demanding work,
the purpose for the sacrifices
made those who love us? Were
there NOT a purpose, then all of
these past years of struggle, of
fierce competition and of uncom-
promising ambition would be mean-
ingless. But, of course, there
is a purpose and I must tell it
to you. I ask you to remember
this purpose always and I pledge
that I shall endeavor to carry it
with me forever.
5 SHOT - AMPHITHEATRE AUDIENCE - DAY
staring at him impassively.
6 INTERCUT BETWEEN SHOTS
of impassive students, seated, watching; of Ben standing
alone on the huge amphitheatre stage; of CLOSEUPS of Ben
speaking; of loudspeakers; of wind-blown papers on the
podium.
7 EXT. PODIUM OF AMPHITHEATRE - DAY
BEN
(continuing)
The purpose, my fellow graduates -
the purpose is -
He stops, trying to think of the word.
8 CLOSEUP - BEN
He begins to sweat.
9 SHOT - AMPHITHEATRE AUDIENCE
watching.
10 SHOT - PODIUM of AMPHITHEATRE
Ben's hands searching through the pages of his speech.
The pages begin to blow away in the wind.
11 SHOT - AMPHITHEATRE AUDIENCE - DAY
staring.
12 SHOT - PODIUM OF AMPHITHEATRE - DAY
BEN
- there is a reason, my friends,
and the reason is -
13 CLOSEUP - BEN
He is in a panic. He looks up from his papers at the audience.
14 SHOT - AMPHITHEATRE - DAY
The audience is gone.
15 SHOT - PODIUM OF AMPHITHEATRE - DAY
BEN
- the reason is - the purpose is -
SOUND of the WIND becoming the ROAR of an AIRCRAFT coming at
us through the air.
16 SHOT - AMPHITHEATRE - DAY
Huge and empty. SOUND of AIRCRAFT.
CAPTAIN'S VOICE
Ladies and gentlemen, we are about
to begin our descent into Los Angeles -
SOUND of a SONIC BOOM.
CUT TO:
17 INT. PLANE - CLOSEUP - BEN - NIGHT
His eyes open suddenly.
CAPTAIN'S VOICE
The sound you have just heard is the
landing gear locking into place. The
Los Angeles weather is clear and the
temperature is a pleasant 72. We do
not expect any traffic delay and will
make our four hour and eighteen minute
flight plan smack on the nose. We
enjoyed having you on board and look
forward to seeing you again in the near
future.
18 SHOT
PULL BACK SLOWLY from a CLOSEUP of a television screen with
snow on it to reveal a long row of television sets along the
ceiling of the aircraft. There is snow on all of them.
19 REVERSE ANGLE
PULL BACK from the CLOSEUP of Ben to reveal a row of passengers
staring straight ahead, their headsets on. Ben turns and
looks out the window.
20 EXT. LOS ANGELES - FROM THE AIR - NIGHT
Los Angeles, at night, its lights stretching endlessly in every
direction.
SOUND - MUZAC and the STEWARDESS' LANDING SPEECH.
START OF MAIN TITLES
UNDER titles:
STEWARDESS' VOICE
Ladies and gentlemen please fasten your
seat belts in preparation for the landing
and observe the no smoking sign. After
we land, you will notice an increase in
the sound level as the thrust of the engines
is reversed to help reduce forward speed.
21 INT. AIRPORT - MOVING SIDEWALK - NIGHT
Ben and the other passengers on the automatic sidewalk.
MAN'S VOICE
Your attention, please! American Airlines
Flight Number 4, 21 Club service, non-stop
to New York is now leaving from Gate
Number 40. All aboard, please.
28 INT. 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
in other rooms. A RADIO nearby PLAYS MUSIC. After a
while, there is the SOUND of a DOOR OPENING. The SOUNDS
of the people TALKING are lower. MRS. TERHUNE'S voice
can be heard among them.
MRS. TERHUNE'S VOICE
-- associate editor of the college
newspaper in his junior year -
managing editor in his senior
year -
The SOUND of the DOOR CLOSING. Mrs. Terhune's VOICE and
the VOICES of the other guests FADE DOWN. Mrs. Terhune's
VOICE can be HEARD with varying clarity through the
remainder of the sequence.
After a few moments, there is the SOUND of a LIGHT SWITCH
being 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 being
SNAPPED OFF.
MR. BRADDOCK'S VOICE
What's the matter?
Ben's mouth opens a little bit and closes again.
MR. BRADDOCK'S VOICE
The guests are all downstairs,
Ben. They're all waiting to see you.
BEN
Look, Dad - could you explain to
them that I have to be alone for
a while?
MR. BRADDOCK'S VOICE
These are all our good friends,
Ben. Most of them have known you
since - well - practically since
you were born.
Ben has not moved. Now the bed on which he is lying moves
as though someone has sat down upon it next to him.
MR. BRADDOCK'S VOICE
What is it, Ben?
The CAMERA BEGINS TO PULL BACK SLOWLY.
BEN
I'm just -
MR. BRADDOCK
- worried?
BEN
Well -
MR. BRADDOCK
About what?
Ben
I guess - about my future.
MR. BRADDOCK
What about it?
BEN
I don't know. I want it to be -
MR. BRADDOCK
To be what?
BEN
(quietly)
Different.
As Ben says this, the door to the bedroom opens and
MRS. BRADDOCK looks in.
MRS. BRADDOCK
Is anything wrong?
MR. BRADDOCK
No! No - we're just on our way
downstairs!
Mr. Braddock gets off the bed and goes to a chair and
picks up Ben's jacket which is lying across it.
MRS. BRADDOCK
The Carlsons' are here.
MR. BRADDOCK
(to Mrs. Braddock)
They are?
(to Ben)
Come on.
Mr. Braddock puts the jacket on Ben.
MRS. BRADDOCK
They came all the way from
Tarzana.
MR. BRADDOCK
It's a wonderful thing to have
so many devoted friends.
They move out of the door, Mr. Braddock steering Ben.
29 INT. HALLS AND STAIRWAY - NIGHT
PHIL and MIMI CARLSON are coming up the stairs as the
Braddocks are moving down.
MR. CARLSON
Hey - there's our award winning
scholar.
MRS. CARLSON
We're all very proud of you,
Ben.
BEN
Thank you, Mrs. Carlson.
MR. CARLSON
Is that the new car out there?
The little red Wop job?
MR. BRADDOCK
That's Ben's graduation present.
MR. CARLSON
(putting his arm
across Ben's shoulder)
Won't have much trouble picking
them up in that, will you?
BEN
Sir?
MR. CARLSON
The girls. The chicks. The -
the teeny boppers.
MRS. CARLSON
I think Ben has gotten beyond
the teeny bopper stage - haven't
you, Ben?
Mrs. Carlson gives Ben a broad wink. Ben tries to smile
and return the wink politely.
BEN
Yes, ma'am.
They reach the hall at the bottom of the stairs.
BEN
Excuse me - I think I'd just
like to check something on
the car for a minute -
Ben moves to the front door and opens it. MR. LOOMIS
steps into the house and grabs Ben's hand.
MR. LOOMIS
Here's the track star himself.
How are you, track star?
BEN
Just fine, Mr. Loomis.
Mr. Loomis closes the door and pushes Ben back down the
hall.
MR. LOOMIS
I want to get a drink and then
I want to hear all about that
thing you won. That Hopperman
award.
BEN
Helpingham.
MR. LOOMIS
Helpingham! Right! Now you
wait right here.
Mr. Loomis turns and goes into the dining room. Ben
moves back to the stairway as THREE LADIES come out of
the living room. One lady takes Ben's right hand, another
lady his left, the third fingers the front of his jacket.
LADY 1
Ben - we're all so proud of
you.
LADY 2
Proud, proud, proud, proud,
proud.
LADY 3
What are you going to do now?
BEN
I was going to go upstairs for a
minute -
LADY 3
No - I meant with your future.
LADY 2
With your life.
BEN
Well - that's a little hard to say -
MR. MCQUIRE appears behind Ben.
MR. MCQUIRE
Ben!
Ben
(to the ladies)
Excuse me.
(he turns around)
Mr. McQuire
MR. MCQUIRE
(overwhelmed with pride)
Ben.
BEN
Mr. McQuire.
Mr. McQuire takes Ben's arm and steers him down the hall
toward the back of the house and out through the back door.
30 EXT. BRADDOCK BACKYARD AND POOL AREA - NIGHT
The pool is eerily lit. There are FOUR PEOPLE standing and
TALKING, drinks in their hands, at the back of the yard.
MR. MCQUIRE
Ben - I just want to say one word to
you - just one word -
BEN
Yes, sir.
MR. MCQUIRE
Are you listening?
BEN
Yes I am.
MR. MCQUIRE
(gravely)
Plastics.
They look at each other for a moment.
BEN
Exactly how do you mean?
MR. MCQUIRE
There is a great future in plastics.
Think about it. Will you think
about it?
BEN
Yes, I will.
MR. MCQUIRE
Okay. Enough said. That's a deal.
Mr. McQuire turns and walks back into the house. The
people at the other end of the yard look toward Ben.
WOMAN #1
Here he is now. Here's Ben.
BEN
Excuse me just a minute -
Ben goes into the house through the back door.
31 EXT. BRADDOCK BACKYARD AND POOL AREA - NIGHT
We can see through the windows of the house, Ben making his
way through people trying to stop him and speak to him as he
goes through rooms, up the stairs and to his room.
SOUND of a door SLAMMING.
32 INT. - EXT. BEN'S ROOM - NIGHT
Ben stands with his back against the door. The SOUNDS of the
PARTY downstairs and, as Ben walks across the room to a
window, the SOUND of the WIND.
32A SHOT - LONG SHOT (Location)
Over Ben to pool area and people below. SOUND of the door
OPENING. Ben turns. MRS. ROBINSON enters the room.
MRS. ROBINSON
Oh. I guess this isn't the
bathroom, is it?
BEN
It's down the hall.
They stand for a moment, loocking at each other.
MRS. ROBINSON
How are you, Benjamin?
BEN
Fine, thank you. The bathroom is
down at the end of the hall.
Mrs. Robinson moves into the room and sits on the edge
of the bed.
BEN
Look, Mrs. Robinson, I don't
mean to be rude but -
Mrs. Robinson takes a cigarette from her purse and
lights it.
MRS. ROBINSON
Is there an ashtray in here?
BEN
No.
MRS. ROBINSON
Oh - I forgot. The track star
doesn't smoke.
She blows out the match and puts it down carefully on
the bedspread. Ben picks up a wastebasket, walks over
to the bed, picks up the match and puts it in the
wastebasket.
MRS. ROBINSON
Is it a girl?
BEN
Is what a girl?
MRS. ROBINSON
Whatever it is you're upset
about.
BEN
Oh - no. I'm just sort of
disturbed about things.
MRS. ROBINSON
In general.
BEN
That's right.
There is a long pause.
MRS. ROBINSON
Benjamin, I want to ask you
something.
BEN
What?
MRS. ROBINSON
Will you take me home?
BEN
What?
MRS. ROBINSON
My husband took the car. Will
you drive me home?
Ben reaches into his pocket and hands Mrs. Robinson
a set of car keys.
BEN
Here - you take it.
Mrs. Robinson looks at him.
BEN
Do you know how to work a
foreign shift?
Mrs. Robinson shakes her head.
BEN
You don't?
MRS. ROBINSON
No.
(there is a pause)
BEN
Let's go.
She throws the keys to him. He catches them.
CUT TO:
33 EXT. BRADDOCK HOUSE - NIGHT
SHOOTING THROUGH THE OPEN FRONT DOOR. Mr. Braddock is
talking to the Terhunes at the door. Ben and Mrs.
Robinson come down the hall.
BEN
Dad - Mrs. Robinson needs a ride
home. I'll be right back.
Mr. Braddock pats Ben on the shoulder. Mrs. Robinson
is walking ahead through the front door.
MRS. ROBINSON
(as she passes the
CAMERA)
Wonderful party.
CUT TO:
34 OMITTED
35 EXT. ROBINSON HOUSE - NIGHT
The car comes to a stop in the Robinson driveway. They sit
for a moment.
MRS. ROBINSON
Thank you.
BEN
Right.
She doesn't move. Ben gets out and goes around to her side
and opens the door.
MRS. ROBINSON
Will you come in, please?
BEN
What?
MRS. ROBINSON
I want you to come in till I get
the lights on.
BEN
What for?
MRS. ROBINSON
Because I don't feel safe until
I get the lights on.
They move to the door. She takes out her key and opens
the door.
36 INT. ROBINSON HALL AND SUNROOM - NIGHT
MRS. ROBINSON
Would you mind walking ahead of
me to the sun porch. I feel
funny about coming into a dark
house.
BEN
But it's light in there now.
MRS. ROBINSON
Please.
Ben turns and walks down the hall. They enter sunroom.
MRS. ROBINSON
What do you drink? Bourbon?
BEN
Look - I drove you home. I was
glad to do it. But I have some
things on my mind. Can you
understand that?
She nods.
BEN
All right then.
MRS. ROBINSON
What do you drink?
He looks at her.
MRS. ROBINSON
Benjamin - I'm sorry to be this
way, but I don't want to be
alone in this house.
BEN
Why not?
MRS. ROBINSON
Please wait till my husband
gets home.
BEN
When is he coming back?
MRS. ROBINSON
I don't know.
She pours herself a drink.
MRS. ROBINSON
Drink?
BEN
No.
She hands him a drink. There is a pause.
BEN
Are you always this much afraid
of being alone?
MRS. ROBINSON
Yes.
BEN
Well, why can't you just lock
the doors and go to bed?
MRS. ROBINSON
I'm very nuerotic.
She turns on the phonograph. SOUND of PHONOGRAPH.
MRS. ROBINSON
May I ask you a question?
Ben looks at her.
MRS. ROBINSON
What do you think of me?
BEN
What do you mean?
MRS. ROBINSON
You've known me nearly all of
your life. You must have
formed some opinion.
BEN
Well - I've always thought
that you were a very - nice -
person.
MRS. ROBINSON
Did you know I was an alcoholic?
BEN
What?
MRS. ROBINSON
Did you know that?
BEN
Look - I think I should be
going -
MRS. ROBINSON
Sit down, Benjamin.
BEN
Mrs. Robinson - if you don't
mind my saying so - this
conversation is getting a
little strange. Now I'm sure
that Mr. Robinson will be here
any minute and -
MRS. ROBINSON
No.
BEN
What?
MRS. ROBINSON
My husband will be back quite
late.
They look at each other. Ben is half standing.
MRS. ROBINSON
He should be gone for several
hours.
She takes a step toward him. He puts his hand up and
retreats around the other side of the chair.
BEN
Oh my God.
MRS. ROBINSON
Pardon?
BEN
Oh no, Mrs. Robinson, oh no.
MRS. ROBINSON
What's wrong?
BEN
Mrs. Robinson, you didn't -
I mean you didn't expect -
MRS. ROBINSON
What?
BEN
I mean - you didn't really
think that I would do something
like that.
MRS. ROBINSON
Like what?
BEN
What do you think?
MRS. ROBINSON
Well I don't know.
BEN
For God's sake, Mrs. Robinson,
here we are, you've got me into
your house. You give me a
drink. You put on music, now
you start opening up your
personal life to me and tell
me your husband won't be home
for hours.
MRS. ROBINSON
So?
BEN
Mrs. Robinson - you are trying
to seduce me.
There is a pause. She looks at him.
BEN
(weaker)
Aren't you?
MRS. ROBINSON
Why no. I hadn't thought of it.
I feel rather flattered that
you -
BEN
Mrs. Robinson, will you forgive
me for what I just said?
MRS. ROBINSON
It's all right.
BEN
It's not all right, it's the
worst thing I've ever said
to anyone.
MRS. ROBINSON
Sit down.
BEN
Please forgive me. Because I
like you. I don't think of you
that way. But I'm mixed up.
MRS. ROBINSON
All right. Now finish your drink.
BEN
Mrs. Robinson, it makes me sick
that I said that to you.
MRS. ROBINSON
We'll forget it right now.
Finish your drink.
BEN
What is wrong with me?
MRS. ROBINSON
Have you ever seen Elaine's
portrait?
BEN
Her portrait?
MRS. ROBINSON
Yes.
BEN
No.
MRS. ROBINSON
We had it done last Christmas.
Would you like to see it?
BEN
Very much.
We move with Mrs. Robinson and Ben out of the sunroom,
into the hall, up the stairs and along the hall to
the doorway to Elaine's room.
37 INT. ELAINE'S ROOM - NIGHT
Ben moves into the room and looks up at the portrait.
BEN
Elaine certainly is an
attractive girl, isn't she?
In the b.g. Mrs. Robinson watches him.
BEN
(looking at the
portrait)
I don't remember her as having
brown eyes.
MRS. ROBINSON
Benjamin?
BEN
Yes?
MRS. ROBINSON
Will you unzip my dress?
He steps back.
MRS. ROBINSON
I think I'll go to bed.
BEN
Oh. Well, goodnight.
MRS. ROBINSON
Won't you unzip my dress?
BEN
I'd rather not, Mrs. Robinson.
MRS. ROBINSON
If you still think I'm trying
to seduce you -
BEN
No, I don't. But I just feel
a little funny.
MRS. ROBINSON
Benjamin - you've known me all
your life.
BEN
I know that. But I'm -
MRS. ROBINSON
Come on.
She turns her back.
MRS. ROBINSON
It's hard for me to reach.
Ben reaches forward and pulls the zipper down.
MRS. ROBINSON
Thank you.
BEN
Right.
Ben walks toward the door.
MRS. ROBINSON
What are you so scared of?
BEN
I'm not scared, Mrs. Robinson.
MRS. ROBINSON
Then why do you keep running
away?
BEN
Because you're going to bed. I
don't think I should be up here.
Mrs. Robinson lets her dress fall to the floor.
MRS. ROBINSON
Haven't you ever seen anybody
in a slip before?
BEN
Yes, I have -
He looks up at the portrait of Elaine.
BEN
But I just - Look - what if Mr.
Robinson walked in right now?
MRS. ROBINSON
What if he did?
BEN
Well, it would look pretty
funny, wouldn't it?
MRS. ROBINSON
Don't you think he trusts us
together?
BEN
Of course he does. But he
might get the wrong idea.
Anyone might.
MRS. ROBINSON
I don't see why. I'm twice as
old as you are. How could
anyone think -
BEN
But they would! Don't you see?
MRS. ROBINSON
Benjamin - I'm not trying to
seduce you. I wish you'd -
BEN
I know that. But please, Mrs.
Robinson. This is difficult
for me.
MRS. ROBINSON
Why is it?
BEN
Because I am confused about
things. I can't tell what
I'm imagining. I can't tell
what's real. I can't -
MRS. ROBINSON
Would you like me to seduce you?
BEN
What?
MRS. ROBINSON
Is that what you're trying to
tell me?
BEN
I'm going home now. I apologize
for what I said. I hope you can
forget it. But I'm going home
right now.
Benjamin walks out of the door and down the hall. The
CAMERA PUSHES with him to the door. We see the entire
stairway and part of the downstairs hall. Ben gets to
the stairs and starts down.
MRS. ROBINSON'S VOICE
BENJAMIN?
BEN
Yes.
MRS. ROBINSON'S VOICE
Will you bring up my purse before
you go?
BEN
I 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. ROBINSON
I really don't want to put this
on again. Won't you bring it
up?
BEN
Where is it?
MRS. ROBINSON
On that chair in the hall.
She walks out of the shot.
BEN
Mrs. Robinson?
MRS. ROBINSON'S VOICE
I'm in the bathroom.
BEN
Well here's the purse.
MRS. ROBINSON'S VOICE
Could you bring it up?
BEN
Well I'll hand it to you.
Ben starts back up the stairs.
BEN
Come to the railing and I'll
hand it up.
MRS. ROBINSON'S VOICE
Benjamin - I am getting pretty
tired of all this suspicion.
Now if you won't do me a simple
favor I don't know what.
Ben appears as he slowly climbs the stairs.
BEN
I'm putting it on the top step.
MRS. ROBINSON'S VOICE
For God's sake, Benjamin, will
you stop acting that way and
bring me the purse?
Ben gets to the top of the stairs, and starts slowly
down the hall.
BEN
I'm putting it here by the door.
MRS. ROBINSON'S VOICE
Will you bring it in to me?
BEN
I'd rather not.
MRS. ROBINSON'S VOICE
All right. Put it in the room
where we were.
BEN
Right.
38 INT. ELAINE'S ROOM - NIGHT
Ben walks quickly into Elaine's room, crosses to the
bed and puts the purse down. As he starts to turn
back, he looks up at Elaine's portrait. There is a
movement reflected in the glass of the portrait. He
turns quickly. Mrs. Robinson, naked, is shutting the
door to the bedroom behind her.
BEN
Oh God.
She smiles.
BEN
Let me out.
She turns the lock on the door.
MRS. ROBINSON
Don't be nervous.
BEN
Get away from that door.
MRS. ROBINSON
I want to say something first.
BEN
Jesus Christ!
MRS. ROBINSON
Benjamin - I want you to know
I'm available to you. If you
won't sleep with me this time -
BEN
Oh my God.
MRS. ROBINSON
If you won't sleep with me this
time, Benjamin, I want you to
know you can call me up any
time you want and we'll make
some kind of arrangement.
BEN
Let me out!
MRS. ROBINSON
Do you understand what I said?
BEN
Yes. Yes. Let me out!
MRS. ROBINSON
Because I find you very attractive
and any time -
There is the SOUND of a CAR in the driveway outside.
Ben leaps at the door, pushes Mrs. Robinson aside,
struggles with the door, gets the door open, runs into
the hall and down the stairs.
39 INT. SUNROOM - NIGHT
Ben rushes into the sunroom and sits down. SOUND of
FOOTSTEPS on the driveway outside. Ben jumps up, gets
the glass he had been drinking from and sits down again.
SOUND of the front door OPENING and CLOSING.
MR. ROBINSON'S VOICE
Is that Ben's car in front?
BEN
(jumping up)
Yes, sir!
FOOTSTEPS approach the sunroom. MR. ROBINSON enters.
BEN
I drove - I drove Mrs. Robinson
home. She wanted me to drive
her home so I - I drove her home.
MR. ROBINSON
Swell. I appreciate it.
BEN
She's upstairs. She wanted me
to wait down here till you got
home.
MR. ROBINSON
Standing guard over the old
castle, are you?
BEN
Yes, sir.
Mr. Robinson reaches for Ben's glass.
MR. ROBINSON
Here. It looks like you need
a refill.
BEN
Oh no.
MR. ROBINSON
What?
BEN
I've got to go.
MR. ROBINSON
Is anything wrong? You look
a little shaken up.
BEN
No. No - I'm just - I'm just
a little worried about my
future. I'm a little upset
about my future.
Mr. Robinson takes the glass from him.
MR. ROBINSON
Come on. Let's have a nightcap
together.
Mr. Robinson turns his back to Ben to mix the drinks.
Ben takes several deep breaths, straightens his tie
and checks to see if his fly is okay. Mr. Robinson
turns and brings him the drink.
BEN
Thank you very much, sir.
MR. ROBINSON
Ben - how old are you now?
BEN
Twenty. I'll be twenty-one
next week.
MR. ROBINSON
(taking out a
cigarette)
That's a hell of a good age
to be.
BEN
Thank you.
MR. ROBINSON
I wish I was that age again.
Because, Ben -
BEN
Sir?
MR. ROBINSON
You'll never be young again.
BEN
I know.
MR. ROBINSON
Ben, can I say something to
you?
BEN
What?
MR. ROBINSON
How long have we known each
other now?
Ben shakes his head.
MR. ROBINSON
How long have you and I known
each other? How long have
your Dad and I been partners?
BEN
Quite a while.
MR. ROBINSON
I've watched you grow up, Ben.
BEN
Yes, sir.
MR. ROBINSON
In many ways I feel as though
you were my own son.
BEN
Thank you.
MR. ROBINSON
So I hope you won't mind my
giving you a friendly piece
of advice.
BEN
I'd like to hear it.
MR. ROBINSON
Ben - I think - I think you
ought to be taking it a little
easier right now than you seem
to.
Ben nods.
MR. ROBINSON
Sow a few wild oats. Take things
as they come. Have a good time
with the girls and so forth.
Mrs. Robinson enters the room. She is now wearing the
dress she wore earlier. Ben starts to get up.
MRS. ROBINSON
Don't get up.
Ben sits.
MR. ROBINSON
I was just telling Ben here he
ought to sow a few wild oats.
Have a good time while he can.
You think that's sound advice?
Mrs. Robinson nods.
MRS. ROBINSON
Yes, I do.
BEN
I've got to go.
He stands. Mr. Robinson stands up with him.
MR. ROBINSON
You have yourself a few flings
this summer. I bet you're
quite a ladies' man.
BEN
Oh no.
MR. ROBINSON
What? You look like the kind
of guy that has to fight them
off.
(to Mrs. Robinson)
Doesn't he look to you like
the kind of guy who has to
fight them off?
MRS. ROBINSON
Yes, he does.
They start out of the sunroom.
40 INT. ROBINSON HALL - NIGHT
MR. ROBINSON
Oh say - Elaine gets down from
Berkeley on Saturday.
BEN
Oh yes.
MR. ROBINSON
Ben - I want you to give her a
call.
BEN
I will.
MR. ROBINSON
Great.
Mr. Robinson opens the front door and Ben goes out.
41 EXT. ROBINSON HOUSE - NIGHT
SHOOTING OVER THE CAR toward the house. Ben comes toward
the car. Mrs. Robinson appears in the doorway; the light
behind her makes it difficult to see her face.
MRS. ROBINSON
Benjamin?
BEN
Yes.
MRS. ROBINSON
Thank you for taking me home.
Ben nods.
MRS. ROBINSON
I'll see you soon, I hope.
Ben continues to walk toward us.
MR. BRADDOCK'S VOICE
Ladies and gentlemen - your
attention, please - for this after-
noon's feature attraction.
CUT TO:
42 EXT. BRADDOCK BACKYARD AND POOL AREA - DAY
The sun shines brightly. Standing and sitting around
the pool are Mr. and Mrs. Braddock, their friends MR.
and MRS. ARNOLD, and the Arnold children, PETER and
LOUISE, who are eight or nine. Watching from across the
fence on one side of the house: the young girl from next
door and her boy friend. Across the fence on the other
side of the house: a quartet of adults, formally dressed
as though for a cocktail party, holding drinks and watch-
ing. One of them holds a baby. The Braddocks, the
Arnolds and their children are dressed in California
Contemporary Sport Style: the adults in styles infinitely
too young for them, the children in styles infinitely too
old for them.
Mr. Braddock stands alone at the end of the pool near the
house. The others are grouped, more or less, at the other
end. Mr. Braddock is hamming it up.
MR. BRADDOCK
Hey, over there -- I mean you!
Your attention please!
Mr. Braddock has moved over by one of the windows of the
house, the window into the kitchen. He speaks quickly -
in a fake sotto voce - towards the window.
MR. BRADDOCK
Are you ready in there, feature
attraction?
BEN'S VOICE
Could I speak to you for a second,
Dad?
But Mr. Braddock has already moved away from the window
and is readdressing his audience.
MR. BRADDOCK
- what was I saying?
MRS. ARNOLD
Feature attraction.
MR. BRADDOCK
Right. Hey - I'm glad to see
you're paying attention. A
feature attraction that will be
one of the most astounding
events ever to take place in
this particular backyard.
They all laugh and some applaud.
MR. BRADDOCK
Now I'm going to ask for a big
round of applause to bring this
boy out here - wait a minute -
let me amend that - to bring
this young man out here - because
today he is twenty-one-years-
old -
MR. ARNOLD
(his hands like
a megaphone)
Let's get on with the show!
MR. BRADDOCK
Just hang on a minute because
I have a few words to say -
MR. ARNOLD
You always do.
They laugh; Mrs. Arnold makes a face at Mr. Arnold as
he grinningly acknowledges the reponse to his snappy
comeback.
BEN'S VOICE
Dad - could we just talk about
this for a second?
MR. BRADDOCK
Twenty-one-years-old, ladies
and gentlemen; four of those
years spent accomplishing some
rather extraordinary things at
one of our nation's leading
seats of learning -
MR. ARNOLD
Bring him out!
PETER AND LOUISE
On 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 VOICE
I'd like to discuss this.
MR. BRADDOCK
(to his audience)
This boy - I'm sorry - this
young man - is soon to continue
his education as a Frank Halping-
ham Award Scholar - but before
he does -
Mr. Braddock darts back to the window.
MR. BRADDOCK
- before he does -
(to the window)
You're disappointing them, Ben.
You're disappointing them.
BEN'S VOICE
Dad - can you listen -
MR. BRADDOCK
(meaning it)
I'll give you ten seconds.
(back to the
people)
He is going to give us a
practical demonstration of
what I feel safe in saying is
a pretty exciting birthday
present - and it better work
or I'm out over two hundred
bucks - so let's hear it for -
Mr. Braddock moves to the screen door and pushes it open.
It slams against the wall inside.
MR. BRADDOCK
- Benjamin Braddock!
44 INT. BRADDOCK BREAKFAST KITCHEN - SHOT DOWN THE HALL - DAY
At the back of the hall, inside the house, stands Ben,
dressed in a full length skin diver's wet suit, flippers
on his feet, the oxygen tank strapped to his back, the
mask pushed up his forehead, the air hose dangling.
He holds a spear gun in his hand.
The people applaud.
45 EXT BRADDOCK BACKYARD AND POOL AREA - DAY
SHOT - FROM BEN'S POV
The people in the backyard. His father stands just
outside the screen door.
MR. BRADDOCK
Folks - this remarkable young
man is going to perform for you
some spectacular and amazing
feats of daring in water that is
over six feet deep -
Ben's arms come into view and pull the mask down.
We are now looking through the mask as we MOVE FORWARD
down the hall. Everything is slightly distorted through
the glass. Ben's hand comes up again with the breathing
apparatus in it.
SOUND: the rythmic PUMPING of air, obliterating the
SOUND of the people around the pool who seem to be
applauding and chattering noiselessly.
We MOVE out of the door and toward the pool. Mr. Braddock
is running back and forth, clapping his hands and
delivering his 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,
motioning toward us to come down to the deep end. He
joins Mr. Arnold at the far end of the pool. They both
begin to motion us toward them.
We get to the deep end of the pool. Mr. Braddock signals
us with his hand to go under. He kneels down by the edge
of the 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 neighbors on each side of the house, looking over their
fences and laughing and pointing; Mr. Arnold nodding
encouragement and talking; Mr. Braddock on his knees,
smiling and trying to reach out far enough to push us
under. We GO UNDER and SINK to the bottom of the pool.
46 EXT. BRADDOCK BACKYARD AND POOL AREA - DAY
OVERHEAD SHOT (HELICOPTER POV)
Looking down on the pool, on Ben's black suited body at
the bottom and the people standing around the pool, looking
down into 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
of the WIND.
Hold for a few seconds, then:
SOUND of a dime DROPPING into a pay phone and DIALING.
DISSOLVE TO:
47 INT. TAFT HOTEL LOBBY - NIGHT - CLOSEUP - BEN
In a phone booth. The booth is in the entrance area of
the hotel between the lobby and the driveway. Ben holds
the receiver to his ear. SOUND of PHONE RINGING.
MRS. ROBINSON'S VOICE
Hello.
BEN
Mrs. Robinson - I don't quite
know how to put this -
MRS. ROBINSON'S VOICE
Benjamin?
BEN
Look - I was thinking about that
time after the party -
MRS. ROBINSON'S VOICE
Where are you?
BEN
- and I was wondering if I could
buy you a drink or something -
MRS. ROBINSON'S VOICE
Where are you?
BEN
Uh - The Taft Hotel.
MRS. ROBINSON'S VOICE
Did you get a room?
BEN
No. Now I know it's pretty
late and if you'd rather -
MRS. ROBINSON'S VOICE
Give me an hour.
BEN
What?
MRS. ROBINSON'S VOICE
I'll be there in an hour.
SOUND of her HANGING UP. Ben hangs up slowly.
He stands up in the booth, looks around, moves about
uncomfortably for a few moments, removes his jacket and
carrying it folded across his arm in front of him,
leaves the phone booth and crosses to the doors that
lead to the main lobby. As he is about to go in, the
doors open and a group of VERY OLD PEOPLE start coming
out, filling the doorway and moving very slowly, muttering
to each other and helping each other out of the door and
down the steps. Ben holds one of the doors open for them
and stands politely to one side. As they get through,
Ben starts to move inside. At that moment, A DOZEN YOUNG
PEOPLE, dressed as though for a high school dance, push
him to one side and move past him into the lobby. He
moves back against the other door, holding it open and
allowing them to go in first. He smiles politely and they
pay no attention to him at all. He follows them into the
lobby. They move toward the front desk and he moves with
them. One of the boys at the front of the group leans in
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 some-
where. The group of young people passes by the desk
and Ben moves in behind them. He pauses at the desk and
looks apprehensively at the hundreds of pigeon holes against
the wall with the room numbers painted under them and the
keys dangling suggestively.
ROOM CLERK
Can I help you, sir!
BEN
What? Oh - no - I'm just -
He points vaguely in the direction of the other young
people.
ROOM CLERK
Are you here for an affair,
sir?
Terror and disbelief start in Ben's eyes. He looks
helplessly at the clerk.
BEN
What?
ROOM CLERK
The Singleman party, sir?
BEN
Oh - yes. The Singleman party.
ROOM CLERK
It's in the main ballroom.
BEN
Ahh - thank you.
Ben backs off and turns and starts across the lobby.
He puts on his jacket as he goes. He gets to the entrance
to 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 ballroom
as though to express his joy at finding the Singleman
affair inside, then turns back and enters the ballroom.
48 INT. BALLROOM - NIGHT
As Ben steps inside.
VOICE
Hello.
Ben turns. Four people stand in a row. Official greeters,
they are: A MIDDLE-AGED WOMAN, AN OLDER MAN, AN ELDERLY
LADY AND A TWELVE-YEAR-OLD BOY, dressed formally and they
are smiling with great determination.
BEN
Hello.
It is the older lady who has said hello.
MRS. SINGLEMAN
You must be one of the Porters.
She grasps Ben's hand and shakes it.
BEN
No - actually I'm not -
MRS. SINGLEMAN
I'd like you to know my sister,
Miss DeWitte -
MISS DEWITTE, who, from the looks of things, always has
been and always will be, Miss DeWitte, takes Ben's hand.
MISS DeWITTE
How do you do?
BEN
How do you do, Miss DeWitte?
MRS. SINGLEMAN
- and my husband, Mr. Singleman -
Ben finds himself shaking the twelve-year-old boy's
hand.
BEN
(apologetically)
Oh - sorry -
JEFFREY SINGLEMAN
Fine, thank you.
MRS. SINGLEMAN
That's Jeffrey, of course.
Ben switches to Mr. Singleman's hand.
BEN
Of course.
MR. SINGLEMAN
I didn't get your name, sir.
BEN
Benjamin Braddock, sir.
Mrs. Singleman looks at the seating list she has been
holding.
MRS. SINGLEMAN
Braddock - Braddock?
BEN
Yes, but I'm afraid -
MRS. SINGLEMAN
I'll find your table in a moment.
Braddock. Not Braniff? We have
a Braniff.
BEN
No - actually I'm just looking
for a friend.
MRS. SINGLEMAN
I'm afraid I don't understand.
BEN
(backing off)
I'm not with your party - I'm
sorry.
MRS. SINGLEMAN
Hey - I don't get it.
Ben is backing out.
MISS DeWITTE
I've enjoyed meeting you, Mr.
Braniff.
MRS. SINGLEMAN
Angela - please!
Ben backs out of the ballroom.
49 INT. HOTEL LOBBY - NIGHT
Ben crosses the lobby, passing PEOPLE going in and out of
the hotel. He stops at the entrance of the Veranda Room:
50 INT. VERANDA ROOM - NIGHT
This is a large room with a bar and many tables along the
windows that look out over the hotel grounds. It is quite
dark and cool inside and there are no more than a dozen
people seated around.
The CAMERA STAYS at the door as Ben walks into the room
and crosses to the far end where he sits down at the table
by the window.
PUSH IN toward Ben as he sits there. MUZAK is playing.
CUT TO:
51 ANGLE ON BEN
sitting smoking.
CUT TO:
52 NEW ANGLE ON BEN
sitting.
CUT TO:
53 NEW ANGLE ON BEN
sitting drinking.
CUT TO:
54 ANGLE ON BEN
In the door to the lobby in the b.g. is Mrs. Robinson.
She pauses, looks into the room, sees Ben and starts
toward him. Ben is looking out the window. He does
not see her approach.
MRS. ROBINSON
Hello, Benjamin.
BEN
Oh. Hello. Hello.
He rises quickly.
MRS. ROBINSON
May I sit down?
BEN
Of course.
He pulls out a chair, for her.
MRS. ROBINSON
Thank you.
They sit down.
MRS. ROBINSON
How are you?
BEN
Very well. Thank you.
Ben tries to smile then looks out the window, then down
at the center of the table.
MRS. ROBINSON
May I have a drink?
BEN
A 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.
BEN
He didn't see me.
MRS. ROBINSON
Waiter!
For a moment, the noise in the room seems to recede. The
waiter stops in his tracks, turns toward them. The waiter
moves to their table. The noise in the room comes back.
The waiter looks at Mrs. Robinson.
MRS. ROBINSON
I will have a martini.
WAITER No. 1
Yes, madam.
The waiter moves away. Ben watches him go.
MRS. ROBINSON
You don't have to be so nervous,
you know.
BEN
Nervous. Well, I am a bit
nervous. I mean it's - it's
pretty hard to be suave when
you're -
He shakes his head.
MRS. ROBINSON
Did you get us a room?
BEN
What?
MRS. ROBINSON
Have you gotten us a room yet?
BEN
I haven't. No.
MRS. ROBINSON
Do you want to?
BEN
Well - I don't. I mean I could.
Or we could just talk.
MRS. ROBINSON
Do you want me to get it?
BEN
You? Oh no. No. I'll get it.
MRS. ROBINSON
Do you want to get it now?
BEN
Now?
MRS. ROBINSON
Yes.
BEN
Well - I don't know.
MRS. ROBINSON
Why don't you get it.
BEN
Why 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.
55 INT. HOTEL LOBBY - NIGHT
Ben walks to the front desk and stands there.
ROOM CLERK
Yes sir?
BEN
A room. I'd like a room,
please.
ROOM CLERK
A single room or a double
room?
BEN
A single. Just for myself,
please.
ROOM CLERK
Will you sign the register,
please?
He pushes the card and a pen toward Ben. Ben writes his
name on the card and then stares at it for a moment,
crumples it up and fills out a second card.
ROOM CLERK
Is anything wrong, sir?
BEN
What? No. Nothing.
ROOM CLERK
(taking a key from
behind the counter)
Do you have any luggage, Mister --
(looks at registration
card)
Gladstone?
BEN
Luggage? Yes. Yes. I do.
ROOM CLERK
Where is it?
BEN
What?
ROOM CLERK
Where is your luggage?
BEN
Well it's in the car. It's
out in the car.
ROOM CLERK
Very good, sir. I'll have a
porter bring it in.
BEN
Oh no.
ROOM CLERK
Sir?
BEN
I mean I'd - I'd rather not
go to the trouble of bringing
it all in. I just have a
toothbrush. I can get it my-
self. If that's all right.
ROOM CLERK
Of course.
Ben reaches for the key.
ROOM CLERK
I'll have a porter show you the
room.
BEN
Oh. Well actually, I'd just as
soon find it myself. I just have
the toothbrush to carry up and
I think I can manage it myself.
ROOM CLERK
Whatever you say, sir.
He hands Ben the key.
BEN
Thank you.
56 INT. VERANDA ROOM - NIGHT
Mrs. Robinson sits, patiently and calmly. Her face betrays
absolutely nothing as she stares ahead of her and sips
her martini.
WAITER No. 1
Mrs. Robinson.
She looks up. A waiter is standing next to the table
with a telephone.
MRS. ROBINSON
Yes?
The waiter plugs the phone into the wall socket next to
the table and hands her the receiver.
MRS. ROBINSON
Thank you.
The waiter nods and leaves.
MRS. ROBINSON
(into phone)
Hello.
BEN'S VOICE
Mrs. Robinson?
MRS. ROBINSON
Yes?
BEN'S VOICE
It's Benjamin.
MRS. ROBINSON
Yes?
BEN'S VOICE
Benjamin Braddock.
MRS. ROBINSON
Benjamin -- where are you?
BEN'S VOICE
Can you look through the glass.
Mrs. Robinson turns in her chair and looks through the
glass into the lobby.
57 INT. LOBBY - PHONE BOOTH - NIGHT - WHAT SHE SEES
Ben is in the phone booth in the lobby no more than twenty
feet away.
BEN'S VOICE
Can you see me now?
MRS. ROBINSON
Yes, I can.
58 INT. LOBBY PHONE BOOTH
Over Ben's shoulder, we can see his face reflected in the
glass door and, through it, Mrs. Robinson sitting in
the Veranda Room.
INTERCUT PHONE CONVERSATION
BEN
I got a single room.
MRS. ROBINSON
That's fine.
BEN
But there's one thing. The desk clerk
seemed to be a little bit suspicious.
I mean - I don't know what their policy
is - but -
MRS. ROBINSON
Well - do you want to go up first?
BEN
Yes - I think that would be good.
MRS. ROBINSON
I'll be up in five minutes.
BEN
Well - goodbye then -
MRS. ROBINSON
Benjamin.
BEN
Yes?
MRS. ROBINSON
Isn't there something you want to
tell me?
BEN
To tell you?
MRS. ROBINSON
Yes.
BEN
Well - I want you to know how much
I appreciate this - really -
MRS. ROBINSON
The number.
BEN
What?
MRS. ROBINSON
The room number, Benjamin. I think
you ought to tell me that.
BEN
Oh? You're absolutely right. Absolutely.
It's 512.
MRS. ROBINSON
Thank you.
BEN
You're welcome. Well - I'll see you
later, Mrs. Robinson.
He hangs up.
59 INT. LOBBY - PHONE BOOTH - SHOT - BEN
He leaves the hpone booth and walks back into the main lobby.
60 INT. HOTEL LOBBY - NIGHT
As he passes the desk, on his way to the elevator, he starts
to pat his breast pocket.
BEN
I've got it.
The desk clerk looks up.
BEN
I say I've got it.
CLERK
Sir?
BEN
The toothbrush. I got it all right.
CLERK
Very good, sir.
BEN
Yes. Well - goodnight.
CLERK
Goodnight, sir.
Ben walks out of shot.
60A INT. HOTEL CORRIDOR - NIGHT
Ben leaves elevator, walks down corridor to hotel room and
opens door.
61 INT. HOTEL ROOM - NIGHT
Ben closes the door behind him and leans with his back against
it for a few moments looking at the room. The only light
is that coming in the window. Ben turns on the light switch
on the wall near the door. The room blazes with the light
from three lamps and an overhead fixture. He turns the switch
off. He crosses to the bathroom. Ben steps in and turns on
the light.
61 INT. HOTEL ROOM - NIGHT
Ben steps out, moves to the window. We see the pool area
through the window. Ben closes the blinds.
61Cont.There is a KNOCK on the door. Ben crosses to the door and
opens it. Mrs. Robinson moves to the bureau and puts her
purse and gloves on it. She looks at herself in the
mirror for a moment then turns slowly, looking at the room,
finally ending on Ben's face. She steps toward him.
MRS. ROBINSON
Well?
He clears his throat and then he kisses her.
BEN
Well.
MRS. ROBINSON
Benjamin.
BEN
Yes?
MRS. ROBINSON
I'll get undressed now. Is that all
right?
BEN
Sure. Shall I - I mean shall I just
stand here? I mean - I don't know
what you want me to do.
MRS. ROBINSON
Why don't you watch?
BEN
Oh - sure. Thank you.
She takes off her jacket.
MRS. ROBINSON
Will you bring me a hanger?
BEN
What?
MRS. ROBINSON
A hanger.
Ben opens the closet door.
BEN
Oh - yes. Wood?
MRS. ROBINSON
What?
BEN
Wood or wire? They have both.
MRS. ROBINSON
Either one will be fine.
BEN
Okay.
He brings her a hanger. She puts her jacket on it.
MRS. ROBINSON
Will you help me with this,
please?
She turns her back.
BEN
Certainly.
He undoes the zipper at her neck.
MRS. ROBINSON
Thank you.
BEN
You're welcome.
She turns and looks at him. He backs away.
MRS. ROBINSON
Would this be easier for you
in the dark?
BEN
Mrs. Robinson - I can't do
this.
MRS. ROBINSON
You what?
BEN
This is all terribly wrong.
MRS. ROBINSON
Benjamin - do you find me undesirable?
BEN
Oh no, Mrs. Robinson. I think -
I think you're the most attractive
of all my parents' friends.
I just don't think we could
possibly --
MRS. ROBINSON
Are you afraid of me?
BEN
No - but look - maybe we could
do something else together,
Mrs. Robinson - would you like
to go to a movie.
MRS. ROBINSON
Benjamin, is this your first time?
BEN
Is this - what?
MRS. ROBINSON
It is, isn't it? It is your
first time.
BEN
That's a laugh, Mrs. Robinson.
That's really a laugh. Ha ha.
MRS. ROBINSON
You can admit that, can't you?
BEN
Are you kidding?
MRS. ROBINSON
It's nothing to be ashamed of -
BEN
Wait a minute!
MRS. ROBINSON
On your first time -
BEN
Who said it was my first time.
MRS. ROBINSON
That you're afraid -
BEN
Wait a minute.
MRS. ROBINSON
- of bring - inadequate - I mean
just because you happen to be
inadequate in one way -
BEN
INADEQUATE!
LONG pause.
MRS. ROBINSON
(starting to dress)
BEN
Don't move.
He slams the bathroom door shut. The light in the room
disappears.
FADE OUT
FADE IN
62 EXT. BRADDOCK BACKYARD AND POOL AREA - DAY
The midsummer sun beats down on the Braddock swimming pool
and on Ben who lies on a rubber raft in the middle of the
pool. Ben wears dark glasses, is deeply tanned, and holds
a beer can in one hand.
SOUNDS: teenagers YELLING and swimming in nearby pools;
a radio PLAYING rock and roll; a television set TUNED to
a ball game.
DISSOLVE TO:
63 CLOSER SHOT - BEN
drifting.
DISSOLVE TO:
64 CLOSER ANGLE ON BEN
drifting.
DISSOLVE TO:
65 CLOSE SHOT - BEN
SOUND of the back door CLOSING. Ben opens his eyes and
moves his head slightly.
66 WHAT HE SEES
Mr. Braddock is passionately stoking a barbeque fire. Mrs.
Braddock is going toward him from the house, carrying some
ominously large thing wrapped in tinfoil.
67 SHOT - BEN
He rolls off the raft and swims to the end of the pool. He
climbs out, walks to the back door, takes his shirt from a
chair and starts to put it on as he opens the back door and
goes through.
68 INT. SPECIAL SET - TAFT HOTEL ROOM
Ben has just shut the door to the bathroom behind him. He
is wearing his shirt, buttoned, and no trousers.
PAN WITH BEN as he walks across the room past Mrs. Robinson
who is standing in front of the bureau taking off her brace-
let and watch. He moves to a chair and sits.
He picks up a cigarette from an ashtray on a table next
to the chair. Mrs. Robinson moves in to Ben, kneels in
front of him and starts to unbutton his shirt.
He takes the cigarette out of his mouth.
69 INT. SPECIAL SET - BRADDOCK DEN AND DINING ROOM - NIGHT
SHOT - NEW ANGLE
We now see behind Ben the door that leads from the Braddock
den, in which Ben is sitting. In the dining room, Mr.
and Mrs. Braddock are sitting, having their dinner, looking
through the doorways toward Ben. Ben stands, crosses back
to the door to the den and shuts it.
70 INT. BRADDOCK DEN - NIGHT - REVERSE
On Ben's back as he returns to the chair and sits. A
television set, facing the chair, is on. Ben picks up a
can of beer and drinks from it. An animated cartoon is
playing on the television set. Ben watches it.
71 REVERSE
Ben's face, watching. PUSH IN to CLOSEUP of his face.
72 REVERSE
CLOSEUP of television set and cartoon.
73 REVERSE
Ben watching.
74 REVERSE
CLOSEUP test pattern.
CUT TO:
75 INT. TAFT HOTEL ROOM - NIGHT
CLOSEUP Ben watching. PULL BACK and we are in the Taft
Hotel Room. Ben is sitting on the bed, leaning against
the headboard, watching the television set which is on a
stand facing the bed.
SOUND of the HUM of the test pattern.
PULL BACK to a WIDE SHOT of the room, lit only by the light
from the television set. Mrs. Robinson walks into the shot,
half dressed. She passes between Ben and the television
set and 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 snapped
closed. Mrs. Robinson, now fully dressed and carrying
her purse, passes through again and, without looking at
Ben, goes to the door of the hotel room, opens it and
exits.
76 INT. BENS' ROOM - CLOSEUP - BEN - DAY
SOUND of DOOR closing. Follow Ben as he gets up and moves
to the windows of what is now his BEDROOM in the Braddock
house. He opens the closed blinds over the window. The
sun is bright outside. His bathing suit is on the window
sill. He takes the suit and puts it on. He moves to
the bedroom door, opens it and goes out.
77 OMITTED
78 EXT. BRADDOCK BACKYARD AND POOL AREA - DAY
We see Mrs. Braddock in the kitchen. Ben comes through
the back door, moves to the pool and dives in. The raft
floats in the center of the pool.
79 SHOT - UNDERWATER
Ben swims toward us the length of the pool.
80 SHOT - AT THE WATERLINE
Ben surfaces and, in one movememt, pulls himself up on
the raft and -
CUT TO:
81 INT. TAFT HOTEL ROOM - NIGHT
- lands on top of Mrs. Robinson on the bed. He stays
on top of her for a moment.
MR. BRADDOCK'S VOICE
Ben - what are you doing?
Ben turns toward us and looks.
CUT TO:
82 EXT. BRADDOCK BACKYARD AND POOL AREA - DAY
SHOT - POV OF BEN ON RAFT
Mr. Braddock standing by the side of the pool. The
sun is behind him.
BEN'S VOICE
Well - I would say that I'm
just drifting.
CUT TO:
83 SHOT - BEN ON RAFT
BEN
- here - in the pool.
MR. BRADDOCK
Why?
BEN
Well - it's very comfortable -
just to drift here.
MR. BRADDOCK
Have you thought about graduate
school?
BEN
No.
MR. BRADDOCK
Would you mind telling me then -
what were those four years of
college for? What was the point
of all that hard work?
BEN
You got me.
MR. BRADDOCK
(trying unsuccessfully
to control himself)
Now listen, Ben. I think it's
a very good thing that a young
man - after he's done some very
good work - should have a chance
to relax and enjoy himself, and
lie around, and drink beer and
so on. But after a few weeks
I believe that person would
want to take some stock in him-
self and his situation and start
to think about getting off his
ass.
Mrs. Braddock steps in beside Mr. Braddock.
MRS. BRADDOCK
The Robinson's are here.
Mr. Robinson steps in beside the others. They blot out
the sun.
MR. ROBINSON
Hi, Ben. What are you doing with
yourself these days?
BEN
Oh - not too much. Taking it
easy.
MR. ROBINSON
That's what I'd do if I could.
Nothing wrong with that. Hey
Ben, Elaine's coming down from
Berkeley soon. I want you to
call her up this time.
BEN
I will.
MR. ROBINSON
Because I just think you two
would hit it off real well
together.
Mrs. Robinson steps in beside them. (A long pause)
MRS. BRADDOCK
Say hello to Mrs. Robinson,
Benjamin.
84 SHOT - BEN
BEN
Hello, Mrs. Robinson.
MRS. ROBINSON
Hello, Benjamin.
DISSOLVE TO:
85 INT. 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. BRADDOCK
Can I talk to you a minute?
BEN
Sure.
MRS. BRADDOCK
Benjamin? I'm going to ask you
something but you don't have to
tell me if you don't want.
BEN
What?
MRS. BRADDOCK
Well I'm going to ask you what
you do when you go off at night.
BEN
When I go off?
MRS. BRADDOCK
You don't have to tell me if
you don't want.
BEN
No, I do. I want to tell you.
There is a pause.
BEN
I drive around.
MRS. BRADDOCK
What else?
BEN
Nothing else.
MRS. BRADDOCK
Well you don't drive around from
midnight until noon the next
day, Benjamin.
BEN
Oh, no.
MRS. BRADDOCK
Then what do you do? Do you
meet someone?
BEN
Meet someone?
She nods.
BEN
Why did you say that?
MRS. BRADDOCK
Well this is your business,
Benjamin.
(she starts toward
the door)
If you -
BEN
No wait. Wait.
She stops.
BEN
I don't meet anyone, mother, but
why did you say that?
MRS. BRADDOCK
Benjamin, I'm not going to pry
into your affairs, but I'd
rather you didn't say anything
at all than be dishonest.
Goodnight, Benjamin.
BEN
Well, wait.
She looks at him.
BEN
You think I'm being dishonest?
She nods.
BEN
Well why do you - why do you
think that?
MRS. BRADDOCK
Because I know you don't drive
around for twelve hours.
BEN
Oh. Well, I don't. Shall I
tell you what I do?
MRS. BRADDOCK
Not if you don't want to.
BEN
I do.
MRS. BRADDOCK
But I don't want you to make
up something.
BEN
I'm not. But I'm - I'm not very
proud of what I do. I usually
get kind of drunk. I usually
drive over to Los Angeles and
go to some bars and get kind of
drunk. Then I take a hotel
room. So I won't have to drive
home on the freeway. I mean it
kind of scares me to drive home
after -
MRS. BRADDOCK
Goodnight, Benjamin.
BEN
You believe me, don't you?
MRS. BRADDOCK
No.
BEN
You don't?
She shakes her head.
BEN
But I want you to. Please. Please
will you believe me.
85A SHOT - MRS. BRADDOCK
MRS. BRADDOCK
(she exits)
Goodnight.
BEN'S VOICE
Wait a minute.
CUT TO:
86-
90 OMITTED
91 INT. TAFT HOTEL ROOM - NIGHT - SHOT - BEN
Mrs. Robinson's hands are undoing his necktie. Ben is
dressed as in previous scene, plus a jacket.
BEN
Wait a minute.
(he pushes her
hand away)
Sit down a minute.
Mrs. Robinson looks at him and raises her eyebrows.
BEN
Will you please sit down a
minute.
Mrs. Robinson walks to the bed and sits. She reaches
down to take off a shoe.
BEN
Will you leave that shoe on for
a minute. Please.
She straightens up.
BEN
Now - do you think we could say
a few words to each other first
this time?
MRS. ROBINSON
If you want.
BEN
Good. I mean are we dead or
something?
MRS. ROBINSON
Well I just don't think we have
much to say to each other.
BEN
All we ever do is come up here
and throw off the clothes and
leap into bed together.
MRS. ROBINSON
Are you tired of it?
BEN
I'm not. No. But do you think
we could liven it up with a
few words now and then?
MRS. ROBINSON
Well what do you want to talk
about?
BEN
Anything. Anything at all.
MRS. ROBINSON
Do you want to tell me about
some of your college experiences?
BEN
Oh my God.
MRS. ROBINSON
Well?
BEN
Mrs. Robinson. If that's the best
we can do let's just get the god-
damn clothes off and --
She reaches for her shoe.
BEN
Leave it on! Now we are going to
do this thing. We are going to
have a conversation. Think of
another topic.
MRS. ROBINSON
How about art.
BEN
Art. That's a good subject.
You start it off.
MRS. ROBINSON
You start it off. I don't know
anything about it.
BEN
Oh.
MRS. ROBINSON
Don't you?
BEN
Yes I do. I know quite a bit
about it.
MRS. ROBINSON
Go ahead then.
BEN
Art. Well what do you want to
know about it.
She shrugs.
BEN
Are you interested more in modern
art or more in classical art.
MRS. ROBINSON
Neither.
BEN
You're not interested in art?
MRS. ROBINSON
No.
BEN
Then why do you want to talk
about it?
MRS. ROBINSON
I don't.
Ben nods and looks at the rug.
MRS. ROBINSON
Can I take off my clothes now?
BEN
No. Think of another topic.
Tell me what you did today.
MRS. ROBINSON
Do you really want me to?
BEN
Yes I do.
MRS. ROBINSON
I got up.
Ben starts shaking his head.
MRS. ROBINSON
Do you want to hear it or not?
BEN
Yes. But you might try and spice
it up with a little originality.
MRS. ROBINSON
I got up. I ate breakfast and
went shopping. During the after-
noon I read a novel.
BEN
What one.
MRS. ROBINSON
What?
BEN
What novel did you read.
MRS. ROBINSON
I don't remember.
Ben nods.
MRS. ROBINSON
Then I fixed supper for my husband
and waited until -
BEN
There!
MRS. ROBINSON
What?
BEN
Your husband! Mrs. Robinson!
There's something we could have
a conversation about.
MRS. ROBINSON
Him?
BEN
I mean everything. I don't know
anything about how you - how you
work this. I don't know how you
get out of the house at night. I
don't know the risk involved.
MRS. ROBINSON
There isn't any.
BEN
There's no risk?
She shakes her head.
BEN
How do you get out of the house?
MRS. ROBINSON
I walk out.
BEN
You walk right out the door.
She nods.
BEN
What do you say to him?
MRS. ROBINSON
He's asleep.
BEN
Always?
MRS. ROBINSON
Benjamin, this isn't a very
interesting topic.
BEN
Please. Now tell me. How do
you know he won't wake up
sometime and follow you.
MRS. ROBINSON
Because he takes sleeping pills.
He takes three sleeping pills
every night at ten o'clock.
BEN
But what about the noise from
the car. What if -
MRS. ROBINSON
The driveway's on my side of
the house.
BEN
(smiling)
We're talking.
MRS. ROBINSON
What?
BEN
We're talking, Mrs. Robinson.
We're talking.
MRS. ROBINSON
Calm down, Benjamin.
BEN
Now let's keep going here.
MRS. ROBINSON
Can I undress and talk at the
same time?
BEN
Right.
MRS. ROBINSON
Thank you.
BEN
Now. You say the driveway's on
your side of the house. So I
guess you don't sleep in the
same room.
MRS. ROBINSON
We don't.
BEN
So you don't - I mean I don't
like to seem like I'm prying
but I guess you don't sleep
together or anything.
MRS. ROBINSON
No we don't.
BEN
Well how long has this been going
on.
MRS. ROBINSON
(looking at the
ceiling for a moment)
About five years.
BEN
Oh no. Are you kidding me?
MRS. ROBINSON
No.
BEN
You have not slept with your
husband for five years?
MRS. ROBINSON
Now and then. He geats drunk a
few times a year.
BEN
How many times a year.
MRS. ROBINSON
On New Year's Eve. Sometimes on
his birthday.
BEN
Man, is this interesting.
MRS. ROBINSON
Is it?
BEN
So you don't love him. You
wouldn't say you -
MRS. ROBINSON
We've talked enough, Benjamin.
BEN
Wait a minute. So you wouldn't
say you loved him.
MRS. ROBINSON
Not exactly.
BEN
But you don't hate him.
MRS. ROBINSON
No, Benjamin. I don't hate him.
Unhook my blouse.
BEN
(unhooking her blouse)
Well how do you feel about him,
then?
MRS. ROBINSON
I don't.
BEN
Well that's kind of a bad
situation then, isn't it?
MRS. ROBINSON
Is it?
BEN
I mean it doesn't sound like it
could be much worse. If you
hated him at least you'd hate
him.
She nods and takes off her blouse.
BEN
Well you loved him once, I
assume. When you first knew
him.
MRS. ROBINSON
No.
BEN
What?
MRS. ROBINSON
I never did, Benjamin. Now
let's -
BEN
Well, wait a minute. You married
him.
She nods.
BEN
Why did you do that?
MRS. ROBINSON
(taking off her
stockings)
See if you can guess.
BEN
Well I can't.
MRS. ROBINSON
Think real hard, Benjamin.
BEN
I can't see why you did, unless
...you didn't have to marry him
or anything, did you?
MRS. ROBINSON
Don't tell Elaine.
BEN
Oh no. You had to marry him
because you got pregnant?
MRS. ROBINSON
Are you shocked?
BEN
Well I never thought of you and
Mr. Robinson as the kind of
people who...
MRS. ROBINSON
All right. Now let's get to bed.
BEN
Wait a minute. Wait a minute.
So how did it happen?
MRS. ROBINSON
What?
BEN
I mean do you feel like telling
me what were the circumstances?
MRS. ROBINSON
Not particularly.
BEN
Was he a law student at the time?
She nods.
BEN
And you were a student also.
MRS. ROBINSON
Yes.
BEN
At college.
MRS. ROBINSON
Yes.
BEN
What was your major?
MRS. ROBINSON
Why are you asking me all this?
BEN
Because I'm interested, Mrs. Robinson.
Now what was your major subject
at college?
MRS. ROBINSON
Art.
BEN
Art?
She nods.
BEN
But I thought you - I guess you
kind of lost interest in it over
the years then.
MRS. ROBINSON
Kind of.
BEN
Well how did it happen?
MRS. ROBINSON
How do you think.
BEN
I mean did he take you up to
his room with him? Did you go
to a hotel?
MRS. ROBINSON
Benjamin, what does it possibly
matter?
BEN
I'm curious.
MRS. ROBINSON
We'd go to his car.
BEN
Oh no. In the car you did it?
MRS. ROBINSON
I don't think we were the first.
Ben thinks for a moment.
BEN
What kind of car was it?
MRS. ROBINSON
What?
BEN
Do you remember the make of the
car?
MRS. ROBINSON
Oh my God.
BEN
Really. I want to know.
MRS. ROBINSON
It was a Ford, Benjamin.
BEN
(jumping up)
A Ford! A Ford! Goddamnit, a
Ford! That's great!
MRS. ROBINSON
That's enough.
BEN
So old Elaine Robinson got started
in a Ford.
There is a pause.
MRS. ROBINSON
Don't talk about Elaine.
BEN
Don't talk about Elaine?
MRS. ROBINSON
No.
BEN
Why not?
MRS. ROBINSON
Because I don't want you to.
She walks to the bed.
BEN
Well why don't you?
She pulls the bedspread down. Ben begins to remove his
jacket.
BEN
I wish you'd tell me.
MRS. ROBINSON
There's nothing to tell.
BEN
Well why is she a big taboo
subject all of a sudden?
Mrs. Robinson uncovers one of the pillows.
BEN
Well - I guess I'll have to ask
her out on a date and find out
what's --
MRS. ROBINSON
Benjamin, don't you ever take
that girl out.
Ben looks at her.
MRS. ROBINSON
Do you understand that?
BEN
Well look. I have no intention
of taking her out.
MRS. ROBINSON
Good.
BEN
I was just kidding around.
MRS. ROBINSON
Good.
BEN
But why shouldn't I?
MRS. ROBINSON
I have my reasons.
BEN
Then let's hear them.
MRS. ROBINSON
No.
BEN
Let's hear your reasons, Mrs.
Robinson. Because I think I
know what they are.
She pulls the covers down.
BEN
I'm not good enough for her to
associate with, am I? I'm not
good enough to even talk about
her, am I?
MRS. ROBINSON
Let's drop it.
BEN
We're not dropping it. Now
that's the reason, isn't it?
I'm a dirty degenerate, aren't
I? I'm not fit to -
MRS. ROBINSON
Benjamin?
BEN
I'm good enough for you but I'm
too slimy to associate with
your daughter. That's it, isn't
it? ISN'T IT?
MRS. ROBINSON
Yes.
BEN
You go to hell. You go straight
to hell, Mrs. Robinson. Do you
think I'm proud of myself? Do
you think I'm proud of this?
MRS. ROBINSON
I wouldn't know.
BEN
Well, I'm not.
MRS. ROBINSON
You're not.
BEN
No sir. I am not proud that I
spend my time with a broken-
down alcoholic!
MRS. ROBINSON
I see.
BEN
And if you think I come here
for any reason besides pure
boredom, then you're all wrong.
She nods.
BEN
Because - Mrs. Robinson this
is the sickest, most perverted
thing that ever happened to
me. And you do what you want
but I'm getting the hell out.
MRS. ROBINSON
Are you?
BEN
You're goddamn right I am.
He starts putting on his shirt. She sits on the edge of
the bed and watches him.
MRS. ROBINSON
That's how you feel about me.
He nods.
MRS. ROBINSON
That I'm a sick and disgusting
person.
BEN
Now don't start this.
MRS. ROBINSON
What?
BEN
Don't start acting hurt.
MRS. ROBINSON
Don't you expect me to be a
little hurt?
BEN
Mrs. Robinson, you stand there
and tell me I'm not good enough
for your daughter.
MRS. ROBINSON
Did I say that?
BEN
Of course you did.
She shakes her head.
MRS. ROBINSON
Benjamin, I want to apologize
to you if that's the impression
you got.
BEN
Well two minutes ago you told
me I wasn't good enough for
your daughter. Now you say
you're sorry I got that
impression.
MRS. ROBINSON
I didn't mean it. I don't think
you'd be right for each other.
But I would never say you
weren't as good a person as
she is.
BEN
You wouldn't.
MRS. ROBINSON
Of course I wouldn't.
Mrs. Robinson walks to the closet.
BEN
What are you doing?
MRS. ROBINSON
Well it's pretty obvious you
don't want me around any more.
BEN
Well look - I was kind of upset
there. I'm sorry I said those
things.
MRS. ROBINSON
If that's how you feel -
BEN
But it's not.
MRS. ROBINSON
(smiling at him)
That's all right. I think I
can understand why I'm disgusting
to you.
BEN
Oh no. Look - I like you. I
wouldn't keep coming here if
I didn't like you.
MRS. ROBINSON
But if it's sickening for you -
BEN
It's not! I enjoy it! I look
forward to it. It's the one
thing I have to look forward
to.
MRS. ROBINSON
You don't have to say that.
BEN
Well I wouldn't. I would never
say it if it wasn't true.
MRS. ROBINSON
May I stay then?
BEN
Yes. Please. I want you to.
MRS. ROBINSON
Thank you.
BEN
Well don't thank me, because I
want you to.
There is a long pause.
MRS. ROBINSON
But you won't ever take out
Elaine, will you? I want you
to promise me that.
There is another long pause.
BEN
Look. Why the hell did you
bring this up. It never
occured to me to take her out.
MRS. ROBINSON
Then give me your word you won't.
BEN
This is absurd.
MRS. ROBINSON
Promise me, Benjamin.
BEN
All right, for christ's sake.
I promise I will never take
out Elaine Robinson.
MRS. ROBINSON
Thank you.
(pause)
Benjamin -
BEN
Let's not talk about it. Let's
not talk at all.
At opposite sides of the room, without looking at each
other, they begin to take off their clothes.
FADE OUT
FADE IN
92 INT. BRADDOCK KITCHEN - DAY
Ben sits at the table, eating his breakfast and looking
at the back of a cereal box. Mr. and Mrs. Braddock
are there.
MR. BRADDOCK
Elaine's back from school. I
think it might be a nice gesture
if you asked her out.
Benjamin looks at his father for a moment, then continues
eating and reading.
CUT TO:
93 INT. BEN'S ROOM - DAY
Ben is lying on his bed. Mrs. Braddock stands in the
doorway.
MRS. BRADDOCK
Don't you think that she's a
terribly attractive girl?
Because I think she's one of
the prettiest girls I've
ever seen.
Ben gives a small whimper.
CUT TO:
94 EXT. BRADDOCK BACKYARD AND POOL AREA - DAY
Ben is lying face down on his raft in the middle of the
Braddock pool. The sun shines down. His diving mask
is on over his eyes. His face is in the water, looking
down at the bottom of the pool. Mr. and Mrs. Braddock,
in their bathing suits, are in the pool, paddling around
Ben. During the entire conversation they continue to
swim around and around the raft, trying to talk and keep
their heads above the surface.
MRS. BRADDOCK
It's pretty embarrassing. I
really don't know what to tell
Mr. Robinson. It's ackward
and strained for me every time
he suggests that you call up
Elaine.
BEN
Next time he suggests it,
I'll tell him I have no
intention of ever calling
her up in my life.
MR. BRADDOCK
I guess she's not good enough
for you, is that it?
BEN
Look - Elaine Robinson and I
do not get along.
MR. BRADDOCK
How do you know? You haven't
seen her since high school. I
guess your evenings, whatever
you do with them, are just too
valuable.
BEN
That has nothing to do with it -
MR. BRADDOCK
I guess I'll just tell Mr. Robinson
that you're just too busy every
evening - doing God knows what -
MRS. BRADDOCK
Don't go on like this. Now if
Benjamin absolutely refuses to
take her out -
BEN
I do.
MRS. BRADDOCK
- then I'll simply invite all the
Robinsons' over for dinner on
Thursday.
95 SHOT - BEN
He slides off the raft and goes underwater.
96 SHOT - BEN UNDERWATER
His hair streaming up, his eyes open.
CUT TO:
97 INT. SPECIAL SET BRADDOCK DINING ROOM - NIGHT
The dining room is one tenth its normal size. At a
table for two are seated, jammed in against each other,
the three Robinsons and the three Braddocks. Elaine's
back is to us. Ben is at the other end of the table,
facing us. The Robinsons and Braddocks sit along
the sides. Mrs. Robinson is next to Ben, everyone is
eating, looking down at their places. After a few moments
Ben throws his head back ans starts to scream. As he
continues to scream, everyone looks at him except Mrs.
Robinson who continues to eat calmly without looking up.
CUT TO:
98 EXT. BRADDOCK BACKYARD AND POOL AREA - DAY
Ben surfaces and pulls himself up on the side of the
pool.
BEN
I'll go call Elaine now.
Mr. and Mrs. Braddock cling exhausted to the raft and
try to smile at each other.
SOUND: Ding dong of the Robinson door chimes.
CUT TO:
99 EXT. & INT. ROBINSON FRONT DOOR, HALL AND SUNROOM - NIGHT
The door opens. Mr. Robinson stands there with a huge
smile.
MR. ROBINSON
Well, Braddock - it's about
time you got around to this.
Come on in. I'm afraid the
young lady isn't quite ready
yet -
Mr. Robinson turns toward the sunroom. Mrs. Robinson is
sitting there.
BEN
Hello.
MR. ROBINSON
What would you say to a short one?
Bourbon still your drink?
BEN
Yes.
Mr. Robinson hands him drink.
MR. ROBINSON
I'll see if she's ready.
Mr. Robinson exits.
100 SHOT - BEN AND MRS. ROBINSON
NOTE Following dialogue played simultaneously
BEN MR. ROBINSON'S VOICE
Now listen -- this was not (from hall)
my idea. It was my father's Hey -- there she is. Miss
idea. America -- that's who it is.
It's definitely Miss America.
MRS. ROBINSON
Benjamin -- I thought I made ELAINE'S VOICE
myself perfectly clear about Daddy - can you fix this?
this. The clasp is broken I think.
BEN MR. ROBINSON'S VOICE
(whispering urgently) I'll do it - I'll do it.
Look, we'll go out to dinner
and have a drink and I'll ELAINE'S VOICE
bring her back. Because it Is Ben here?
was either that or a dinner
party for the two families. MR. ROBINSON'S VOICE
And I'm afriad I couldn't He's in the living room having
quite handle that, if you a chat with your mother.
don't mind. I have no
intention of ever taking your
precious daughter out again
in her life. So don't get
upset about it.
MRS. ROBINSON
But I am. I'm extremely upset
about it, Benjamin.
Mr. Robinson and ELAINE enter.
ELAINE
Hello.
BEN
Hello.
101 CLOSEUP - MRS. ROBINSON
MR. ROBINSON'S VOICE
Well - I want you to keep your
wits about you tonight. You never
know what tricks Ben picked up
back there in the East.
LAP DISSOLVE TO:
102 EXT. FREEWAY - NIGHT
SHOT - BEN AND ELAINE in Ben's car. From the back. Ben
leans forward slightly, pushing the car recklessly in
and out of the traffic. Ben is wearing dark glasses.
ELAINE
You're living at home now. Is
that right?
BEN
Yes.
ELAINE
Do you know what you're going
to do?
BEN
No.
ELAINE
Are you going to graduate school?
BEN
No.
He leans on the HORN. The car directly ahead of him
does not move to the right. Ben jerks his car over to the
right, swerves around the car ahead, jamming his horn
down, and swerves back into the outside lane, giving the
driver of the other car an angry look as he passes him.
Elaine holds on to the dashboard to keep her balance.
ELAINE
Do you always drive like this?
BEN
Yes.
CUT TO:
103 INT. RESTAURANT - NIGHT
A drab, almost deserted room with formally dressed WAITERS.
Ben and Elaine are seated at a table.
BEN
Do you want some dinner?
ELAINE
I'd love some.
A waiter moves forward toward them.
BEN
Bring a menu.
WAITER #2
Dinner for two, sir?
BEN
No. Just for her.
The waiter moves away.
ELAINE
Aren't you eating?
BEN
No.
ELAINE
Why not?
BEN
If it's all right with you,
I'm not hungry.
The waiter returns with a menu.
ELAINE
I've changed my mind. Thank
you.
CUT TO:
104 EXT. SUNSET STRIP - NIGHT - SHOTS
Ben and Elaine walking on the strip.
105 EXT. STRIP JOINT - NIGHT
Ben pushes through the people crowded in around the
entrance. Without turning around, he waits for Elaine
who has difficulty following him. As she gets to him,
he starts forward again. He starts up the stairs.
Elaine is just behind him.
CUT TO:
106 INT. STRIP JOINT - NIGHT
Seedy, ugly, three quarters filled. A tuxedoed HOOD leads
them through the tables to a table directly under the stage
on which a STRIPPER is in the process of removing her
dress. There is one chair facing the stage, the other with
its back to and up against the stage. Ben sits down in
the chair facing the stage. Elaine stands for a moment,
unsure.
BEN
Sit down.
Elaine sits in the chair with her back to the stage.
She folds her hands on the table and looks down at them.
Ben takes a pair of dark glasses out of his pocket and
puts them on. The two chairs are slightly angled toward
each other so that Ben can look up at the stage without
looking directly at Elaine.
BEN
Why don't you watch the show?
The stripper is reflected in Ben's glasses.
ELAINE
Benjamin - do you dislike me
for some reason?
BEN
No - why should I?
ELAINE
I don't know.
107 SHOT - ACROSS BEN - THE STRIPPER
She is down to a tasseled bra and g-string. She is
twirling the tassels.
BEN
You're missing a great effect
here.
Elaine turns around, looks at the stripper and turns
back.
BEN
How do you like that?
Elaine doesn't answer.
BEN
Could you do it?
ELAINE
No.
The stripper sees Elaine look. The stripper smiles toward
Ben and walks toward his table, twirling the tassels as she
walks. Ben smiles as he watches her approaching.
The stripper moves directly behind Elaine's chair. The
spotlight from the back of the house falls into Elaine's
face. As it does, Elaine puts her hand up to shield
her eyes.
The stripper slides a finger into her mouth, wets it
and holds it up in the air. The music stops and a
DRUM ROLL starts. The stripper bends over Elaine's head
and begins swinging the tassels so that they rotate in
front of Elaine's face.
108 SHOT - BEN
He leans forward slightly to watch the action. The
swinging tassels are reflected in his glasses.
The DRUM ROLL gets louder and faster. The tassels
swing more frantically.
109 SHOT - ELAINE
She pulls her hand down from in front of her eyes.
110 SHOT - BEN
With Elaine's face reflected in his glasses.
111 SHOT - ELAINE
Through Ben's glasses. Elaine's face seen darkly but
fully for the first time. The tassels swing in front
of it. Tears start out of her eyes.
112 SHOT - BEN
He reaches up to remove the glasses.
113 SHOT - ELAINE
As the glasses come off and her face is seen in the harsh
spill from the spotlight. The tears are running down
her face. Only her eyes are crying as she looks straight
at Ben.
114 SHOT - BEN
With his glasses off, he watches her. He reaches forward
and puts his hand in the way of the tassels.
STRIPPER
Hey!
Some of the customers start to boo. Ben rises, takes
Elaine's arm and leads her toward the exit.
CUT TO:
115 EXT. STRIP JOINT - NIGHT
The entrance to the strip joint. Elaine runs to the
bottom of the steps. The Sunset Strip sidewalk outside
is crowded with people moving back and forth. Ben follows
her. She pushes through the crowd on the sidewalk. Ben
catches her and holds her arm.
BEN
Elaine - I'm sorry.
Elaine leans against the side of the building and pulls
her arm away.
ELAINE
Will you take me home now?
BEN
I'm sorry I took you in there.
ELAINE
I think I'd better go home now
please.
BEN
But, Elaine -
ELAINE
Where is the car?
BEN
I just want to tell you something.
Ben, facing her, keeps moving from side to side, trying
to get her to look at him. She keeps looking away.
ELAINE
I want to go home.
BEN
But could I just tell you this
one thing?
ELAINE
What?
BEN
This whole idea - this date
and everything. It was my
parents' idea. They forced me
into it.
ELAINE
Oh - that's very nice of
you to tell me.
BEN
No. What I mean is - that's
why I've been acting this way.
I'm not like this. I hate
myself like this.
She starts to cry. People on the sidewalk are looking at
them. She turns away from them. Ben moves away from
them. Ben moves around in front of her.
BEN
Listen - could you stop crying,
please?
ELAINE
No, I couldn't.
BEN
But could you try?
ELAINE
No.
She brings both hands up to her face. Ben looks at her
for a few moments in agony. Then, very determined, he
takes her wrists in his hands and pulls them away from
her face. She looks up startled. She starts to give a
little cry but before she can he is kissing her. She closes
her eyes.
He brings his fists, containing her hands, up to the side
of her face. He opens his hands against her face, freeing
her hands. Her hands move slowly to his wrists and hang
on. After a while she pulls away, turning her head slightly
to one side.
BEN
Elaine -
He starts to pull her head back.
ELAINE
Not here. Not here.
DISSOLVE TO:
116 EXT. DRIVE IN RESTAURANT - NIGHT
Ben and Elaine are sitting in the car in a drive-in
restaurant. There are trays hooked onto windows along
side of both of them. They are eating and drinking
furiously.
BEN
I've had this feeling - ever
since I've graduated - this -
kind of compulsion that I have
to be rude all the time. Do
you know what I mean?
ELAINE
Yes, I do.
He looks at her.
BEN
It's like I've been playing
some kind of - game - but the
rules don't make any sense to
me -
She is watching him carefully.
BEN
- they're being made up by all
the wrong people - no - I mean
no one makes them up, they seem
to have made themselves up.
A car with a COUPLE OF TEENAGERS has driven up in the
slot on their right. Its RADIO is tuned into a rock
and roll station and it is playing LOUDLY. Ben leans
across Elaine and speaks through the window to the
kid behind the wheel.
BEN
Say - I wonder if I could request
you to turn that down a little?
The kid turns the radio up. Ben and Elaine roll their
windows up.
117 SERIES 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;
radios PLAYING; waitresses YELLING orders; customers
YELLING at waitresses; kids LAUGHING and TALKING from
car to car; MOTORCYCLES driving in and out, TRAFFIC.
CUT TO:
118 EXT. ROBINSON HOUSE - NIGHT
The car coasts silently to a stop in front of the Robinson
house. The RADIO plays QUIETLY. Ben turns it OFF. They
sit there for a long time without saying anything, Ben's
hand touching her shoulder. It is very quiet.
ELAINE
Well - maybe I'd better go in.
He nods. They continue to sit there for another long
moment.
ELAINE
Would you like to come in? I
could make some coffee.
BEN
No, I mean - I wouldn't want to
wake anyone up.
ELAINE
We won't. Let's go inside.
BEN
Wait a minute.
ELAINE
Is anything wrong?
BEN
No - I was just thinking -
look - it's still early -
we could do something - go
somewhere else.
ELAINE
All right.
He starts the car immediately and drives away from the
house.
119 INT. BEN'S CAR - NIGHT
Ben is driving.
ELAINE
Where we going?
BEN
I'm trying to think of where
there's a place to have a
drink around here.
ELAINE
Isn't there one in the Taft
Hotel?
There is a SQUEAL of TIRES as Ben almost drives off
the road.
ELAINE
What is the matter?
BEN
Nothing. I'm just wondering if
they have a bar or not. I mean
let's go see. Let's go see if
they do or not.
120 INT. TAFT HOTEL LOBBY - NIGHT
Ben and Elaine enter the lobby and stand just inside
the door. They start in a few steps.
BEN
Listen, Elaine - it seems to me
that there isn't a bar in here.
I mean - as far as I know.
ELAINE
Of course there is. Look -
The Veranda Room - right there.
ONE of the CAR PARKERS passes them on his way out.
CAR PARKER
Good evening.
CAMERS BEGINS TO PULL UP AND AWAY. A BELLBOY passes
them.
BELLBOY
Hello, how are you, sir?
The room clerk smiles at them.
ROOM CLERK
Good 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 many people moving back and forth in the
lobby, passing Ben and Elaine.
VOICE #1
Hello again.
VOICE #2
Hi, Mr. Gladstone. How are you
this evening?
ELAINE
Benjamin -
BEN
Let's get out of here, Elaine.
Let's go somewhere else.
ELAINE
Benjamin - do they know you?
BEN
Of course not.
VOICE #3
Good evening, sir.
VOICE #4
Mr. Gladstone - how are you?
He moves her toward the door.
BEN
Come on, Elaine. We're leaving.
CUT TO:
121 EXT. TAFT HOTEL
Ben brings Elaine through the door to the porch.
ELAINE
Ben - what's happening? Who
is Mr. Gladstone?
BEN
I don't know. They must think
I look like this guy Gladstone.
PAN WITH THEM as they start down the steps. Coming up
the steps toward them is Miss DeWitte, on the arm of
another ELDERLY LADY.
MISS DeWITTE
Hello, Mr. Brannif.
SOUND: Car STARTING noisily.
122 EXT. TAFT HOTEL DRIVEWAY - NIGHT
Ben and Elaine in his car. He takes his hand off
the ignition, jams on the accelerator and drives the car
speedily for twenty-one feet and jams on the brakes. He
turns off the ignition and the lights. He puts his
head down on the steering wheel. He lifts his head.
BEN
Elaine - I like you. I like you
so much. Do you believe that?
She nods.
BEN
Do you?
ELAINE
Yes.
BEN
You're the first - you're the
first thing for so long that
I've liked. The first person
I could stand to be with.
She takes his hand.
BEN
I mean my whole life is such a
waste. It's just nothing. I'm
sorry. I'll take you home now.
He turns the key in the ignition and starts the car.
ELAINE
Benjamin - are having an
affair with someone?
He freezes with his hand still on the key.
ELAINE
I'm sorry.
He turns off the engine.
ELAINE
I'm sorry. That is not my
business.
BEN
It just happened. It was just
this thing that happened along
with everything else. Can you
understand that?
She nods.
ELAINE
Was she married or something?
BEN
Yes.
ELAINE
With a family?
BEN
Yes. She had a husband and a
son.
ELAINE
Did they ever find out?
BEN
No.
ELAINE
And it's all over now.
BEN
Yes.
ELAINE
I'm glad.
He starts the car and drives out.
123 EXT. ROBINSON HOUSE - NIGHT - SHOT - BEN AND ELAINE IN
BEN'S CAR
BEN
Can we do something tomorrow?
ELAINE
All right.
BEN
During the day? We'll go for
a drive or something.
ELAINE
Okay.
BEN
You sure you really want to?
ELAINE
Yes.
BEN
Because I wouldn't want you to
do it unless you really wanted
to!
ELAINE
I do.
BEN
You do?
ELAINE
Benjamin - I really do.
DISSOLVE TO:
124 EXT. 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 house comes closer and closer. The front door
of the Robinson house opens and Mrs. Robinson comes out,
dressed in a housecoat, and, in four or five fast steps,
reaches the car, opens the door on the passengers side
and climbs in. Ben moves the package over into his lap.
MRS. ROBINSON
Drive down the block.
BEN
Mrs. Robinson - I have a date
with Elaine. We're going for
a drive.
MRS. ROBINSON
(looking at him
for the first time)
Do exactly what I say.
Ben starts the car forward down the driveway.
125 ANOTHER ANGLE - BEN AND MRS. ROBINSON
As they drive.
BEN
Now it seems to me -
MRS. ROBINSON
Listen to me very carefully,
Benjamin. You are not to see
Elaine again. Ever. Those
are my orders. Is that clear?
Ben stops the car in front of a house halfway down
the block.
BEN
Mrs. Robinson -
MRS. ROBINSON
I can makes things quite unpleasant.
BEN
How?
MRS. ROBINSON
In order to keep Elaine away
from you - I am prepared to
tell her everything.
BEN
I don't believe you.
MRS. ROBINSON
Then you'd better start believing me.
BEN
Mrs. Robinson, don't wreck it. I'm
asking you please not to wreck it.
MRS. ROBINSON
Go home now.
BEN
I just don't believe you would do that.
Mrs. Robinson looks at him for a moment.
MRS. ROBINSON
Try me.
There is a pause while Ben looks at her expression. Then
he grabs the keys out of the ignition, opens the door on
his side and jumps out of the car, carrying the package.
TRACK WITH BEN as he runs up the street and up the drive-
way toward the Robinson house. Ben gets to the front
door.
BEN
(as he goes through
the door)
Elaine!
126 INT. ROBINSON HALLS, STAIRS, DOOR TO ELAINE'S ROOM - DAY
Ben runs in.
BEN
Elaine?
ELAINE'S VOICE
Benjamin?
BEN
I'm coming up.
ELAINE'S VOICE
I'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
to her bedroom. She is wearing a skirt and slip and
carrying one shoe.
ELAINE
Benjamin - I said I wasn't dressed -
Ben pushes her back into her room.
127 INT. ELAINE'S ROOM - DAY
ELAINE
What's the matter?
BEN
You've got to go over the back
fence and I'll meet you on the
corner.
ELAINE
Benjamin - what's happening?
BEN
Hurry up. Put your shoes on.
Ben turns and looks.
128 SHOT - OVER BEN'S SHOULDER
Mrs. Robinson is just entering the house.
BEN
NO.
He turns around.
129 NEW ANGLE
Elaine is standing in the doorway watching him. She
still holds the shoe in her hand.
BEN
Why aren't you ready?
ELAINE
Because I want to know what's
happening.
SOUND of Mrs. Robinson's FOOTSTEPS in the hall below.
BEN
There isn't time!
130 INT. ELAINE'S ROOM - DAY
Ben pulls Elaine around behind the open door. They stand
in the angle formed by the door and the wall as though
they are hiding from someone. Mrs. Robinson's FOOTSTEPS
can be heard coming up the stairs.
BEN
Elaine - I have to tell you
something.
He holds her against the wall in the corner.
ELAINE
What is it?
BEN
That woman -
ELAINE
What?
BEN
That woman. The older woman.
ELAINE
You mean the one who -
BEN
Yes. The married woman - it
wasn't just some woman -
Mrs. Robinson's FOOTSTEPS can be heard coming down the
hall.
ELAINE
What are you telling me?
The FOOTSTEPS stop.
131 ANGLE - CLOSE ON ELAINE
Back in the corner. Mrs. Robinson's face appears in the
crack in the door at Elaine's shoulder. Elaine looks from
Ben's face to the crack through which she can see her
mother's eyes staring.
ELAINE
Please - 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.
ELAINE
Oh - no.
Ben backs up.
BEN
Elaine -
ELAINE
Oh my God -
Moving along the wall as though to keep as far from Ben
as possible, Elaine moves away from the door.
BEN
Please.
Elaine walks a few steps toward the other side of the room
then turns back toward Ben. The tears are starting out
of her eyes.
BEN
No - don't cry -
ELAINE
GET OUT!
BEN
Don't cry.
(holds the package
out to her)
ELAINE
Get out of here.
She moves toward him as though to hit him. He backs into
the hall. Elaine SLAMS the door shut.
ELAINE
(holding the door)
Get out!
132 INT. ROBINSON HALL - DAY
Mrs. Robinson stands at the end of it, looking at Ben.
MRS. ROBINSON
(calmly)
Goodbye, Benjamin.
133 SHOT - BENJAMIN
He looks at her in horror. He starts to back down the
hall toward the stairs, holding the package against
his chest.
134 INT. SPECIAL SET - ROBINSON HALL - DAY - SHOT - PULLING
BACK FROM MRS. ROBINSON
She is standing there, perfectly calm. She gets further
and further away as though it is a very long hall in a
very bad dream.
FADE OUT
FADE IN
135 INT. BEN'S ROOM - NIGHT
Ben sits cross-legged on his bed in the dark, his back
against the fishtank, smoking.
DISSOLVE THROUGH TO:
136 EXT. ROBINSON HOUSE - DAY
Ben drives by in his car. He looks at the house.
DISSOLVE TO:
137 INT. BEN'S ROOM - DAY
Ben dressed differently, stands by the window overlooking
the backyard. Over his shoulder, we can see Mr. Braddock
down by the pool, dressed in a sweater, cleaning the pool
with a long-handled scoop. Mr. Braddock looks up at Ben's
window. Ben moves aside.
DISSOLVE TO:
138 EXT. ROBINSON HOUSE - DAY
Ben is standing behind a tree watching the
Robinson house. In the driveway of the Robinson house,
Elaine is getting into the Robinson car. Mr. Robinson
is putting Elaine's luggage into the car. Mrs. Robinson
stands at the door. Mr. Robinson gets into the car and
starts it. The car drives down the driveway and down the
street.
DISSOLVE TO:
139 INT. BEN'S ROOM - NIGHT
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 several
dozen times. He stops and looks up.
DISSOLVE TO:
140 INT. BRADDOCK KITCHEN - DAY
It is early morning. We see a swinging door pushed open
to reveal: Mr. Braddock, dressed in a bathrobe, standing
at the kitchen counter by the window through which we can
see an orange tree. Mr. Braddock is pouring orange juice
from a MINUTE MAID container. Ben stands inside door.
MR. BRADDOCK
Say that again.
BEN
I'm going to marry Elaine Robinson.
MR. BRADDOCK STARTS TO SMILE.
MR. BRADDOCK
Well - well - well -
He almost giggles as he crosses to Ben and takes his hand
to shake it. Mrs. Braddock appears in the doorway. Ben
is shaking his father's hand.
MRS. BRADDOCK
What's happening?
MR. BRADDOCK
Ben says he and Elaine are getting
married.
MRS. BRADDOCK
I don't believe it.
MR. BRADDOCK
That what he says. Right?
BEN
I'm going up to Berkeley today.
MRS. BRADDOCK
Oh, Ben - this is so - exciting -
MR. BRADDOCK
Come on, let's call the Robinsons.
We've got something to celebrate.
BEN
No. I think you'll want to wait
on that.
MRS. BRADDOCK
They don't know?
BEN
No - they don't.
MRS. BRADDOCK
Well - when did you decide all
this?
BEN
About an hour ago.
MR. BRADDOCK
Wait a minute. You talked to
Elaine this morning?
BEN
No. She doesn't know about it.
MR. BRADDOCK
She doesn't know that you're
coming up to Berkeley?
BEN
No. Actually - she doesn't
know about us getting married
yet.
MRS. BRADDOCK
When did you two talk this over?
BEN
We haven't.
MR. BRADDOCK
Ben - this whole idea sounds
pretty half-baked.
BEN
No - it's not. It's completely
baked. It's a decision I've made.
MRS. BRADDOCK
But what makes you think she
wants to marry you?
Ben picks up his suitcase, walks to the door and turns.
BEN
She doesn't. To be perfectly
honest, she doesn't like me.
DISSOLVE TO:
141 EXT. ROAD NO 1 TO BERKELEY - DAY
Ben driving his car (left to right)
BEN'S VOICE
(over)
Dear Elaine - I am now visiting
Berkeley, after growing somewhat
weary of family life. I have been
meaning to stop by and pay my
respects but am not entirely certain
just how you feel about seeing me
after the incident involving myself
and your mother. It was certainly
a serious mistake on my part but
not serious enough. I hope --
The last part runs down like a record on an old gramaphone.
CUT TO:
142 EXT. ROAD NO. 2 - TO BERKELEY - DAY
Ben driving his car (left to right)
BEN'S VOICE
(over)
Mr. and Mrs. G. L. Robinson take
great pleasure in announcing the
wedding of their daughter...
It runs down.
CUT TO:
143 EXT. GAS STATION - DAY
Ben's car is being gassed up. It is a huge gas station
with dozens of pumps and many neon lights. Ben runs to
a series of vending machines. He pushes quarters into
them, receiving cigarettes, a sandwich, an apple, a cup
of coffee. Balancing them all carefully, he runs back
to the car, climbs in, puts his purchases on top of
the dashboard, hands the attendant a bill and drives
off.
CUT TO:
144 EXT. 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?
ELAINE'S VOICE
(over)
Oh, they're having a wonderful
time - spending the day at Mother's
- she's teaching them to...
It runs down.
145 EXT. ROAD NO. 4 TO BERKELEY - DAY
Ben driving (left to right)
BEN'S VOICE
(over)
Dear Mom and Dad. You may have
wondered why Elaine and I haven't
written in such a long time, but
the postal sytem here in Greenland
isn't the most efficient. Life
among these wonderful natives...
It runs down.
CUT TO:
146 EXT. ROAD NO. 5 TO BERKELEY - DAY
Ben driving (left to right)
MAN'S VOICE
(over)
Do you, Benjamin Braddock take
this woman, Mrs. Robinson, for
your Mother-in-law, to love,
cherish and...
It runs down.
CUT TO:
147 EXT. TOLL BOOTH ON THE OAKLAND BRIDGE - DAY
Ben barely stops as he hands the change out the window of
the low-slung sports car and up to the toll taker.
CUT TO:
148 EXT. OAKLAND BRIDGE - DAY
Ben driving over bridge (left to right)
MRS. ROBINSON'S VOICE
(over)
Benjamin - you and Elaine have
made such a wonderful marriage.
I often laugh when I remember
those nights at 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
was when I first...
It runs down...
PAN THE CAR past us and HOLD ON it as it disappears in
the distance.
DISSOLVE TO:
149 INT. WENDELL HALL RECEPTION AREA - DUSK
CLOSE ON BEN as he comes through the door. MOVE WITH
HIM as he wanders around the the commons room which is filled
with STUDENTS. Girls SINGING, couples necking; a MAN
with a heavy knapsack. Ben walks to a LADY RECEPTIONIST
NO. 1, who sits at a reception desk.
LADY RECEPTIONIST NO. 1
May I help you?
BEN
(too loudly)
Elaine Robinson.
LADY RECEPTIONIST NO. 1
Yes?
BEN
(clearing his throat)
Elaine Robinson. Does she live
here?
The Receptionist runs her pencil along a list of names
under the glass top of her desk. She finds it.
LADY RECEPTIONIST NO. 1
Three-oh-eight. Shall I call
her for you?
The Receptionist's hand moves to the receiver of a phone on
the desk. Ben looks at her hand for several seconds. He
takes a step backward. Her hand starts to lift the receiver.
Ben moves backward, puts his hand up as though to stop her
and shakes his head, speechlessly.
150 SHOT - RECEPTIONIST
Looking at Ben.
151 SHOT - BEN
Move with him as he moves past the students toward the
door.
DISSOLVE THROUGH TO:
152 EXT. 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.
DISSOLVE THROUGH TO:
153 INT. ROOMING HOUSE HALL AND STAIRS - NIGHT - BEN AND
MR. McCLEERY
From the bottom of the stairway, shooting up. MR.
McCLEERY is the landlord of the rooming house. They
are climbing a flight of stairs, Mr. McCleery first,
then Ben, carrying his suitcase.
MR. McCLEERY
You a student?
BEN
Not exactly.
Mr. McCleery stops and turns. Ben almost runs into him.
MR. McCLEERY
What's that?
BEN
I said - not exactly - no.
MR. McCLEERY
What are you then?
BEN
Well - I'm just sort of traveling
through.
Mr. McCleery takes a couple of steps up, Ben following
and stops again.
MR. McCLEERY
I like to know who's living in
my house. I like to know what
my boys are up to.
BEN
Ahhh.
Mr. McCleery just looks up at him.
BEN
I'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. McCLEERY
You're not one of those agitators?
BEN
What?
MR. McCLEERY
One of those outside agitators.
BEN
Oh - no sir.
MR. McCLEERY
I hate that. I won't stand for
it.
He looks at Ben searchingly, then turns and continues up
the stairs and down the hall.
CUT TO:
154 INT. ROOMING HOUSE - BEN'S ROOM - NIGHT
PAN THE ROOM in a circle, seeing a sink in one corner, a
bed, a bureau, a table, a lamp, a chair, a window that
overlooks a Berkeley street - ending in a CLOSEUP OF BEN,
standing in the middle of it, looking lost.
CUT TO:
155 EXT. WENDELL HALL - QUADRANGLE - DAWN
DAWN. The campus is empty except for Ben who, dressed
carefully in his black suit, sits on a bench in the
quadrangle outside of Wendell Hall.
156 EXT. WENDELL HALL QUADRANGLE - SERIES OF DISSOLVE (OR CUTS)-
DAY
During which Ben remains static while the quadrangle and
thet area around him fill up with students; walking, talking,
hurrying to class, strolling, sitting, reading, handing
out petitions, etc.
157 EXT. CAMPUS BUILDING - DAY - LONG SHOT
Elaine comes out. She walks, carrying her books, in Ben's
direction.
158 SHOT - ELAINE
He sees her and stiffens.
159 SHOT - ELAINE
Approaching from the distance.
160 SHOT - BEN
He stands.
161 SHOT ELAINE
As she walks, she is joined by another GIRL with whom she
converses as they walk.
162 SHOT - BEN
Watching. He takes a step forward.
163 SHOT - ELAINE AND GIRL
As they approach, they are joined by a tall BOY with a
beard.
164 SHOT - BEN
He starts toward them, falters, straightens himself.
165 SHOT - ELAINE, GIRL, BOY
They are getting quite near. Suddenly they are joined
by THREE AFRICAN EXCHANGE STUDENTS, in tribal robes.
They all greet each other and continue to walk toward us.
166 SHOT - BEN
He looks at the massed group moving toward him, horror
taking over his face. He starts forward. As he passes
Elaine and her friends he seems to take a deep breath and
hold it.
She stops and slowly turns to look in his direction. Her
companions also stop. Ben changes his direction and
makes a circle 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.
BEN
Elaine. Hey - what a surprise.
(not quite looking
at her)
Say - I thought I remembered that
you were going to school up here
- well - we'll have to get together
sometime - I'll be up here myself
for a little while.
167 SHOT - BEN'S POV
Elaine and the others staring at him.
168 SHOT - BEN
BEN
- it certainly has been nice -
I think I'm late - yes, I am -
He turns and walks away from them. They stand still
watching them go. He starts to walk faster and faster.
They watch him as he gets further and further away and
then breaks 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:
169 INT. ROOMING HOUSE - BEN'S ROOM - DAY
Ben leans with his back against the closed door, breathing
heavily.
DISSOLVE TO:
170 EXT. VARIOUS CAMPUS LOCATIONS - DAY - SERIES OF SHOTS
Ben following and watching Elaine.
DISSOLVE TO:
171 INT. TELEGRAPH STREET RESTAURANT - DAY
Ben is sitting at a table by the window through which
we can see the street. He is drinking a beer. Other
tables are filled 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. She
crosses the street and moves to a bus stop. He stands,
fumbles in his pocket for money, puts a dollar on the
table and rushes out.
172 EXT. RESTAURANT TELEGRAPH STREET - DAY
Ben comes out of the door just as Elaine gets into a bus
and the doors close behind her.
The bus starts off. Ben runs after it. The bus gets to
the next corner and stops for a red light. Ben catches
up with it, runs to the front door and knocks on the
door. The door opens and he climbs in.
173 OMITTED
174 INT. BUS NO. 1 - DAY - SHOT ELAINE
She is seated next to an OLDER LADY by the window immediately
in front of the rear exit door. She keeps looking out
the window, almost holding her breath as she hears:
BEN'S VOICE
(getting closer as
he moves past people
toward her)
Excuse me - I'm sorry - I
wonder if I could get by -
excuse me -
There is a pause and then, immediately behind her:
BEN'S VOICE
(cheerfully)
Well - how about this for a
coincidence.
175 NEW ANGLE
Ben's face is right behind Elaine, between her and the older
lady sitting next to her. Ben is standing on the steps
to the 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
takes a look at her, turns around and looks at Ben,
then looks at Elaine again.
ELAINE
I'm meeting someone.
BEN
Ah. Where?
She doesn't answer.
BEN
Where are you meeting this person?
ELAINE
At the Zoo.
BEN
The Zoo. They have a pretty good
one here, do they?
ELAINE
I've never been to it.
BEN
Oh. Well, I haven't either. I
might just ride out there with you.
Hold on them riding.
CUT TO:
176 EXT. ZOO - DAY
Ben and Elaine are walking along in front of one of the
outside animal cages. Ben is walking a step or two behind
Elaine. He is darting glances to the right and left.
BEN
Is that him over there?
ELAINE
No.
BEN
Where did he say he was going
to meet you?
ELAINE
I thought he said by the monkey
house.
BEN
Oh.
She stops. Ben stops.
ELAINE
Benjamin - I would like to know
what you're doing here.
BEN
Here? In Berkelely?
ELAINE
Yes.
BEN
Well, I have this very pleasant
room on Carter Street - and I've
been getting to some classes -
ELAINE
But you're not enrolled.
BEN
No. I just sit in. They don't
seem to mind. They've been
very congenial about it.
She looks at him and starts to shake her head.
ELAINE
Benjamin - you're - I don't
know what to say - you're --
BEN
Maybe we could get together
some time and talk about it.
ELAINE
- really incredible -
BEN
Here he comes.
ELAINE
What?
BEN
I've got a real feeling that
this is the fellow.
Elaine looks. A good-looking young man is striding
briskly toward them. It is CARL SMITH.
CARL
(waving)
Elaine!
BEN
He certainly is a good walker.
Carl strides up to them. He takes the pipe out of his
mouth and puts it in his pocket. He reaches out and
takes Elaine's hands.
CARL
Am I late? I'm sorry.
BEN
We thought you said by the
monkey house.
Carl frowns and looks up over Elaine's shoulder at Ben.
Ben smiles.
ELAINE
This is Benjamin Braddock.
Carl Smith. Benjamin rode
here with me on the bus.
CARL
Glad to meet you, Ben.
Ben steps forward and grasps Carl's hand.
BEN
Great 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.
BEN
Swell seeing you. Have a good
time.
Ben turns and starts walking back the way he came. Carl
and Elaine turn and go in the opposite direction. Ben
stops after a few steps and walks over to one of the
cages. He grips the rail with his hand and looks back
at:
177 SHOT - CARL AND ELAINE
Walking away, his arm over her shoulder, his other hand
gesturing with the pipe in it as he talks.
178 SHOT - BEN
As he watches them go. His artificial smile disappears.
The agony is such that he has to steady himself with
his hand on the rail. He turns his face away, toward the
cage. There is an animal in it, staring at Ben. They
look at each other. There is a box - an automatic device
with a recorded desciption of the animal - that begins
to deliver its RECORDED MESSAGE.
DISSOLVE TO:
179 INT. ROOMING HOUSE - BEN'S ROOM - DAY
Ben is standing by the window, looking out.
180 EXT. ROOMING HOUSE - STREET - DAY
SHOT - THROUGH THE WINDOW
Elaine is walking up the street toward the rooming house.
181 INT. ROOMING HOUSE - BEN'S ROOM - DAY - SHOT - BEN
He jumps to the other side of the window and peers out
carefully.
182 EXT. ROOMING HOUSE - STREET - DAY - SHOT - THROUGH THE
WINDOW
Elaine turns in and disappears into the rooming house
front door below.
183 INT. ROOMING HOUSE - BEN'S ROOM AND HALLWAY - DAY - SHOT
BEN
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
to the wastepaper basket under the sink, bends down and
takes a newspaper out of it. He crosses to the chair and
sits down. He holds the newspaper in front of him. It
is hopelessly crumpled. He gets up, crosses to the
bureau, opens a drawer and takes out a traveling iron.
He kneels down, puts the newspaper on the floor and tires
to straighten it out with the iron.
There is a KNOCK on the door. He rises, puts the iron
back in the drawer as quietly and quickly as he can,
then back to the chair, sits down and holds the newspaper
on his lap.
BEN
Come in.
There is another KNOCK. Ben crosses to the door and opens
it. Elaine is standing in the hall.
ELAINE
I want to ask you a question.
BEN
Come in.
ELAINE
No. I want to know why you're
here in Berkeley?
BEN
Because - I am.
ELAINE
Is it because I'm here?
BEN
What do you think?
ELAINE
I think it is.
Ben nods.
ELAINE
I said I think it is.
BEN
All right then! Yes!
ELAINE
Well, I want you to leave.
BEN
Elaine - I love you.
ELAINE
(looking down)
How could you do that, Benjamin?
Ben moves in behind her and puts his hand on her arm.
ELAINE
Do you just hate everything?
How could you possibly rape
my...
BEN
What?
ELAINE
I don't understand -
BEN
Did you say rape her?
ELAINE
- how you - how anyone - could
do a thing like that.
BEN
What did she say?
ELAINE
(holding his arm)
Let me go.
BEN
You've got to tell me what she
said.
He touches her hair.
ELAINE
Why?
BEN
Because it isn't true.
ELAINE
I don't feel well.
Ben pushes her down softly onto the bed. He kneels
along side her.
BEN
Tell me.
Ben sits next to her and puts his hand on her shoulder.
ELAINE
She said she was having a drink
in the hotel with a friend.
You waited for her in the parking
lot and told her she was too
drunk to drive home and that
you would get her a room for
the night.
BEN
Then what?
ELAINE
Then you took her upstairs and
you raped her.
BEN
Elaine - that is not what happened.
She puts her hands on his shoulder.
ELAINE
Please let me go.
BEN
All right - but listen to me.
What happened was there was
this party at my parents. I
drove your mother home - then
we went upstairs to see your
portrait -
Elaine tightens her arms around his neck.
ELAINE
Don't tell me -
BEN
- and when we got up in the
room she starts taking her her
clothes off - and -
ELAINE
Benjamin - this is my mother!
BEN
- suddenly there she was without
any clothes on - I mean really
naked -
Ben is almost lying on top of her. Elaine screams - a
long, loud scream. Ben looks at her. He leaps off
the bed and runs to the sink. He fills a glass with
water and brings it to 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
from a hanger and puts it on.
SOUND: A KNOCK on the door.
MR. McCLEERY'S VOICE
What's going on in there?
Elaine sits up and drinks the water. Ben looks at
her then goes to the door and opens it.
BEN
Oh - hello, Mr. McCleery.
MR. McCLEERY
Who screamed?
BEN
It's all right, Mr. McCleery.
MR. McCLEERY
Screaming isn't all right. Not
in my house it isn't.
BEN
It was just a visitor. But it's
all right now.
Several BOYS are gathering in the hallway trying to see
into the room. Ben edges through the door into the
hallway.
184 INT. ROOMING HOUSE HALLWAY - DAY
MR. McCLEERY
What did you do to her?
BEN
Look - she's all right. She's
upset and she screamed. But
she's okay now.
A BOY
Shall I get the cops?
BEN
What?
A BOY
I'll get the cops.
He starts for the stairs.
BEN
Hey - wait a minute. Now damn
it - look.
He opens the door a little way. They all try to see in.
BEN
See - she's just having some
water. Now there's no need
for the cops or anything.
MR. McCLEERY
All right, boys - I think you
can get back to your rooms. I
don't think we'll have any more
of this agitation. Will we,
Braddock?
BEN
No, sir.
The boys start back to their rooms. Mr. McCleery and Ben
stand and look at each other for a few seconds.
MR. McCLEERY
I want you out of here.
Mr. McCleery turns away and walks down the hall and starts
down the stairs.
BEN
Mr. McCleery?
MR. McCLEERY
You heard me. Out of here.
BEN
What for?
MR. McCLEERY
(going down the
stairs)
Because I don't like you.
Mr. McCleery disappears down the stairs. Ben turns and
goes back into the room.
185 INT. ROOMING HOUSE - BEN'S ROOM - DAY
Elaine is standing at the sink. She is putting water on
her face. Ben goes to the closet and takes out his suit-
case and carries it to the bed.
ELAINE
I'm sorry I screamed.
Ben opens the suitcase.
ELAINE
Benjamin, when you came up here,
what did you think was going to
happen between us?
BEN
Elaine - right now I don't feel
like talking much. I'm sorry
about everything but I think I'll
just do this now.
He stands, looking into the empty suitcase.
ELAINE
Can I just sit here while you're
packing?
BEN
If you want.
Elaine sits in the chair. She watches him as he goes to
the bureau, takes some shirts from a drawer and puts them
in the suitcase, then goes back to the bureau. He gets
down on his knees and looks under the bureau.
ELAINE
What are you looking for?
BEN
My belt.
ELAINE
Don't you have it on?
BEN
No. I have two. The other one
is the one I'm looking for.
(he reaches under
the bureau)
What's this?
(he brings out a
marble)
It's from my grandmother.
ELAINE
The marble?
BEN
The belt I'm looking for was
from my grandmother.
ELAINE
Oh.
Ben takes the marble to the suitcase and packs it.
ELAINE
What are you going to do now?
BEN
I don't know.
He goes back to the bureau, gets some socks and underwear
and carries them to the suitcase.
ELAINE
Are you going home?
BEN
No.
ELAINE
Well - 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.
BEN
Elaine - you're going to have to
stop asking me that.
He packs the T-shirts, then carries the beer can back to
the bureau and puts it back in the drawer, takes some
ties from the drawer and crosses to the suitcase. Elaine
gets up, goes to the door and opens it.
ELAINE
I don't want you to leave tomorrow.
BEN
I don't understand.
ELAINE
I don't want you to go anywhere
until you have a definite plan.
BEN
But Elaine -
ELAINE
Goodbye.
She walks out, shutting the door behind her. He crosses
to the window.
185A EXT. 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 INT. ROOMING HOUSE - BEN'S ROOM - NIGHT
Ben asleep in his bed. Suddenly he sits up.
187 SHOT - ELAINE
Standing in the darkness by the door.
BEN
What's happening?
He gets out of the bed.
ELAINE
Benjamin?
BEN
What?
ELAINE
(taking a step
forward)
Will you kiss me!
He goes to her and they kiss.
BEN
Will you marry me?
She shakes her head.
BEN
You won't?
ELAINE
I don't know.
BEN
But you might.
ELAINE
I might.
BEN
Is that so? You might marry me?
ELAINE
Yes.
BEN
When?
ELAINE
I don't know.
BEN
How about tomorrow? I don't mean
to be pushy but -
ELAINE
I don't know. I don't know what's
happening.
BEN
You mean you're confused?
She nods.
BEN
Well - look - don't be confused.
We're getting married.
ELAINE
I don't see how we can.
BEN
We just can.
ELAINE
I have to go back now.
She goes to the door.
BEN
Elaine - are you serious about this?
ELAINE
I'll think about it.
BEN
You really will?
ELAINE
Yes.
She opens the door and steps into the hall. He goes to the
door.
BEN
Well - let's get together sometime.
He closes the door.
BEN
Good God!
DISSOLVE TO:
188 INT. ROOMING HOUSE DOWNSTAIRS HALL - DAY - CLOSEUP OF
TELEGRAM
addressed to MR. BENJAMIN BRADDOCK
SOUND: FOOTSTEPS descending stairs. Someone WHISTLING.
The FOOTSTEPS and WHISTLING get nearer and stop.
Hands come in and pick up telegram, open the envelope
and unfold, the telegram reads:
LEAVE BERKELEY IMMEDIATELY OR
SERIOUS REPEAT SERIOUS TROUBLE
WILL RESULT.
MRS. G. L. ROBINSON
PAN UP TO BEN. He crumples the telegram in his hand.
CUT TO:
189 EXT. 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.
BEN
We could go down and get our
blood tests tomorrow.
ELAINE
Tomorrow?
BEN
Or this afternoon. It's a good
day for it.
ELAINE
Benjamin - I haven't even said
I'll marry you yet.
BEN
We'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
pushes through a lot of students to keep up with Elaine.
CUT TO:
190 INT. CLASSROOM BUILDING CORRIDOR - DAY
They walk down a corridor. On each side are open doors
to classrooms with students filing into each of them.
ELAINE
I just don't think it would work.
BEN
Why wouldn't it?
A bell rings. Elaine turns into one of the doors. Ben
is left in the hall. He looks around. All the doors
in the classrooms close. He leans against the wall.
191 ANOTHER ANGLE - BEN
Standing poised by the door. The bell rings. The classroom
doors open and students start to file out. Elaine comes
out of the classroom.
BEN
Why wouldn't it?
ELAINE
I just don't think it would...
Elaine starts walking down the corridor towards the exit door.
Ben follows her, moving out of the way of the other students.
CUT TO:
192- OMITTED
193
194 INT. GYMNASIUM - DAY
Elaine and twenty other girls are in basketball uniforms.
Two teams of girls are playing basketball. Elaine sits
on the bench, watching. Ben stands behind her. The girls
are shouting and clapping and jumping up and down.
BEN
Tomorrow then - can we get our
blood tests tomorrow morning?
She turns and looks at him.
ELAINE
Why don't you just drag me off
if you want to marry me so much?
BEN
Why don't I just drag you
off? All right - I will.
Right after we get the blood
tests.
ELAINE
Well - I have to see Carl first.
BEN
Carl who?
Elaine jumps up, applauding a shot.
BEN
Carl who?
ELAINE
Carl Smith. He's a medical
student. We've known him
for years.
BEN
Who - that guy at the Zoo?
ELAINE
Yes.
BEN
Why do you have to see him?
ELAINE
Well -- I said I might marry him.
Elaine and several other girls run onto the court as a
number of girls run off the court to the bench.
BEN
(yelling after her)
You WHAT?
CUT TO:
195 INT. LIBRARY - DAY
Ben is seated across a study table from Elaine. There are
many other students scattered around the room.
BEN
How did he do it? Did he get down
on his knees? He didn't get down
on his knees, I hope.
ELAINE
No, Benjamin.
BEN
Well, what did he say? I'm curious.
ELAINE
He said he thought we'd make a pretty good team.
BEN
Oh no. He said that.
ELAINE
Shhhh.
BEN
Where did he do it?
She starts to get up.
BEN
I'd like to know where it happened?
She starts to move away.
BEN
It wasn't in his car, was it?
CUT TO:
196 EXT. WENDELL HALL - DAY
Ben and Elaine are standing at the entrance.
BEN
Are we getting married tomorrow?
ELAINE
No.
BEN
The day after tomorrow?
ELAINE
Maybe we are and maybe we aren't.
She goes through the doorway into Wendell Hall. Ben remains
standing in exactly the same positin. After a few moments
the door opens and Elaine comes out, steps quickly to Ben,
kisses him, then runs back inside. Ben turns and starts
away from the door. The door opens again. Ben turns back
and takes a step toward the door, smiling expectantly. A
tall bearded MAN comes out and goes past Ben. Ben breaks up.
CUT TO:
196A EXT. 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 and
exits PAST CAMERA, WHISTLING.
196B INT. ROOMING HOUSE - DOWNSTAIRS - NIGHT
Ben enters carrying four oddly shaped boxes and some flowers.
197 INT. ROOMING HOUSE STAIRS AND BEN'S ROOM - NIGHT
Ben is whistling happily as he runs up the stairs two at a
time. He opens the door to his room and steps in. The room
is dark. The figure of a MAN is silhouetted against the
window. Ben freezes just inside the door. There is a long
pause.
MR. ROBINSON
(clearing his throat)
Do you want - do you want to try
and tell me why you did it?
BEN
Mr. Robinson?
MR. ROBINSON
Do you have a special grudge
against me? Do you feel a particularly
strong resentment for me?
BEN
No, it's not --
MR. ROBINSON
Is there something I've said that's
caused this contempt? Or is it just
the things I stand for that you
despise?
BEN
It was nothing to do with you, sir.
MR. ROBINSON
Well, Ben, it was quite a bit to
do with me.
Ben takes a step forward.
BEN
Now look - please -
MR. ROBINSON
Ben, I think we're two civilized
human beings. Do you think it's
necessary to threaten each other?
BEN
I am not threatening you.
MR. ROBINSON
Do you want to unclench your fists,
please? Thank you. I can see in
the dark, you know. I've been here
quite a while.
BEN
I am trying to tell you I have no
personal feelings about you, Mr.
Robinson. I am trying to tell
you I do not resent you.
MR. ROBINSON
You don't respect me terribly
much either, do you?
BEN
No, I don't.
MR. ROBINSON
Well, I don't think we have a
whole lot to say to each other,
Ben. I do think you should know
the consequences of what you've
done. I do think you should
know that my wife and I are
getting a divorce soon.
BEN
But why?
MR. ROBINSON
Why?
BEN
It shouldn't make any difference
what happened.
MR. ROBINSON
That's quite a statement.
BEN
Listen to me. We got - we got
into bed with each other. But
it was nothing. It was nothing
at all. We might - we might just
as well have been shaking hands.
MR. ROBINSON
Shaking hands. Well, that's not
saying much for my wife, is it?
BEN
You miss the point.
MR. ROBINSON
Don't shout at me, Ben.
BEN
The point is - I don't love your
wife. I love your daughter, sir.
MR. ROBINSON
Well - I'm sure you think you do,
Ben, but after a few times in
bed with Elaine I feel quite sure
you'd get over that as quickly
as you -
BEN
HUH?
MR. ROBINSON
I 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 or not, but I
think maybe I can. In the light
of what's happened I think maybe
I can get you behind bars if you
ever look at my daughter again.
I have seen Elaine and I have
spent the afternoon taking steps
to insure...
Mr. Robinson climbs across the bed to get to the door.
Ben takes a step toward him.
MR. ROBINSON
Stay away from me, Ben!
Mr. Robinson stands at the door.
MR. ROBINSON
I don't want to mince words with
you. As far as Elaine's concerned
you're to get her out of your
filthy mind right now. Is that
perfectly clear ro you? That's
all, Ben. You'll pardon me if
I don't shake hands with you.
Mr. Robinson opens the door and starts into the hall.
MR. ROBINSON
I think you are filth.
Mr. Robinson turns back from the hall.
MR. ROBINSON
I think you are scum.
Mr. Robinson starts down the stairs. Mr. McCleery is
standing on the stairway, listening.
MR. ROBINSON
You are a degenerate!
Mr. Robinson turns and goes down the stairs, past Mr.
McCleery who looks up at Ben.
198 SHOT - BEN
He walks to the door, looks out into the hall at Mr.
McCleery, then shuts the door. Ben goes to the window
and looks out.
199 EXT. ROOMING HOUSE STREET - NIGHT - WHAT HE SEES
On the street below, Mr. Robinson getting into a cab.
200 INT. ROOMING HOUSE - BEN'S ROOM - NIGHT - SHOT - BEN
He runs out of his room.
201 INT. ROOMING HOUSE HALL AND STAIRS - NIGHT
Ben runs down the stairs. Mr. McCleery is standing by
the pay phone.
BEN
Mr. McCleery - do you have
some change? I need to use
the phone?
MR. McCLEERY
I want you out of here.
BEN
(takes out some
money)
Look - I'll give you ten dollars
for a dime - I'll give you
twenty - for God's sake, will
you let me use that phone?
MR. McCLEERY
I am going to call the police now.
BEN
Could I make one phone call first?
MR. McCLEERY
Get out!
Ben stuffs the money back in his pocket and runs down the
stairs and out of the building. Through the door we see
him run down the street and out of sight.
CUT TO:
202- OMITTED
209
210 INT. WENDELL HALL - DAY - CLOSEUP - LADY RECEPTIONIST #2
LADY RECEPTIONIST #2
(hanging up phone)
Elaine Robinson has left the school.
CUT TO:
211 CLOSEUP - BEN
Ben reacting.
LADY RECEPTIONIST #2
Her roommate is coming down with
a note for you.
212 INT. WENDELL HALL - CORRIDOR - DAY - LONG SHOT
The elvator at the end of the hall opens and a fat GIRL
walks toward us with an envelope in her hand. She walks
into CAMERA.
CUT TO:
213 EXT. ROAD NO. 1 TO LOS ANGELES - DAY
Ben driving his car (right to left) SOUND: An ENVELOPE
being RIPPED OPEN.
ELAINE'S VOICE
(over)
Dear Benjamin - I promise you some-
say I will write a long letter about
everything but right now I can't
thank and all I can say to you is
please forgive me because I know
what I'm doing is the best thing
for you. My father is so upset
you've got to understand. I love
you, but it would never work out.
214 EXT. STREET NO. 2 - NEAR ROBINSON HOUSE - NIGHT
Ben's car is parked two blocks from the Robinson
house. Ben has just left the car and is making his way to
the Robinson backyard.
215 EXT. 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.
216 ANGLE ON BEN
He moves to the back door, takes off his shoes, puts them
into his jacket pockets, tries the back door. It opens
and he goes in.
217 INT. SUNROOM - NIGHT
There are no lights. Ben moves through the house into the
hall and up the stairway.
218 INT. ROBINSON UPSTAIRS HALL - NIGHT
Ben goes to the door of Elaine's room and looks in. There
is a light on in the room and the sound of someone moving
around. He goes in.
BEN
Elaine?
219 INT. ELAINE'S ROOM - NIGHT
As Ben moves further into the room, Mrs. Robinson, carrying
some of Elaine's clothes, comes out of Elaine's closet and
moves past Ben.
MRS. ROBINSON
Hello, Benjamin.
She does not stop, but walks casually past him into the hall.
220 INT. ROBINSON UPSTAIRS HALL AND MRS. ROBINSON'S ROOM -
NIGHT
Ben follows her through the hall into Mrs. Robinson's room.
BEN
Where is she?
221 MRS. ROBINSON'S ROOM - NIGHT
Mrs. Robinson, without stopping, puts Elaine's clothes
down next to a half-packed open suitcase on her bed and
moves to a telephone on the night table. She lifts the
receiver and dials zero. Ben follows.
MRS. ROBINSON
Hello. Get me the police, please.
BEN
Where is Elaine?
MRS. ROBINSON
I'll be with you in a moment,
Benjamin.
(into phone)
Will you send a police car to twelve
hundred Glenview Road. We have a
burgler here. Just a second. I'll
ask him.
(to Ben)
Are you armed?
(into phone)
No - I don't believe he is. Thank
you.
She hangs up.
BEN
What have you done to her?
MRS. ROBINSON
I think we have everything quite
under control now, Benjamin. Would
you like a quick drink before you go?
She picks up a glass from the night table and takes a
drink.
BEN
You can't stop me from seeing her,
Mrs. Robinson. I'll find her.
MRS. ROBINSON
I'm sorry we won't be able to invite
you to the wedding, Benjamin, but
the arrangements have been so rushed -
BEN
What the hell have you done?
SOUND of SEVERAL CARS TURNING INTO DRIVEWAY.
MRS. ROBINSON
Ahh. I don't think you'll have
time for that drink after all.
BEN
I'll find her.
MRS. ROBINSON
I don't think so.
The cars have reached the top of the driveway. SOUND
of the SQUEAL of BRAKES and CAR DOORS OPENING.
222 INT. ROBINSON HALLS - NIGHT
Ben dives head first into the hall, scrambles to his
feet and runs to the back of the house.
223 EXT. ROBINSON BACKYARD - NIGHT
Ben comes through the back door,
runs to the back fence and vaults it. Lights start to
go on in the house behind him.
224 EXT. STREET - NIGHT
Ben, driving rapidly. He jams on the brakes and stops
the car in the middle of the street. Cars, HONKING
move around him as he sits, staring ahead.
BEN
Wedding! God Damn it - wedding!
People are YELLING as him from the cars going by.
MR. ROBINSON'S VOICE
Carl - I think you and Elaine will
make a good team.
CARL'S VOICE
Your father's right, Elaine. You
and I will make a darned good team.
Ben swings the car around in a U-turn and speeds off
in the other direction.
225 EXT. ROAD NO. 6 - TO BERKELEY - NIGHT (BECOMING DAY)
SERIES OF SHOTS
Ben driving rapidly (left to right) past the landmarks
established on the previous drive to Berkeley.
WOMAN'S VOICE
We have two Carl Smiths. Is it
Carl with a "C" or a "K"?
BEN'S VOICE
I'm afraid I don't know.
WOMAN'S VOICE
The Karl Smith with a "K" teaches
History of Advertising -
BEN'S VOICE
And the other?
WOMAN'S VOICE
The one with the "C", Carl Smith
Junior, is in our medical school.
He lives at Gamma Delta Tau.
226 EXT. FRATERNITY HOUSE - DAY
Ben pulls up in front of the Gamma Delta Tau house. He gets
out of the car. He is haggard, tired and unshaven. The
car is mud-spattered.
227 INT. FRATERNITY HOUSE - HALL AND DINING ROOM - DAY
Ben enters the hall. Through a door can be seen a DOZEN
OR SO FRATERNITY BROTHERS seated at a table chowing down.
It is breakfast. Ben walks into the dining room.
228 INT. FRATERNITY DINING ROOM - DAY
The fraternity brothers are eating and talking noisily.
BEN
Say - fellows -
They stop eating and turn toward him.
BEN
Do any of you fellows know where
Carl Smith is?
FRAT BROTHER #1
He took off in the middle of the
night to get married.
He goes back to his breakfast.
FRAT BROTHER #2
Proabaly one step ahead of the
shotgun.
BEN
Do you happen to know where he's
getting married? I'm supposed to
be there.
FRAT BROTHER #2
Why don't you ask Carter?
BEN
Would you happen to know where I
might find him?
FRAT BROTHER #2
He's probably still in the sack.
He's always in the sack.
They start to laugh.
FRAT BROTHER #3
Or in the can.
They all laugh a great deal. Ben gives a polite smile.
CUT TO:
229 INT. FRATERNITY WASHROOM - DAY
A large steam-filled room with a row of FRATERNITY
BROTHERS in front of a row of sinks, brushing, combing,
shaving, etc. Ben is standing at the door.
MAN AT SINK
Hey, Carter - where's the Make Out
King getting married?
CARTER'S VOICE
(echo sound)
Santa Barbara.
BEN
(calling in the direc-
tion of Carter's voice)
You don't happen to know exactly
where the Make Out King is
getting married, do you? I'm
supposed to be there.
CARTER'S VOICE
I don't know. Maybe at his old
man's home.
MAN AT SINK
You going to the wedding?
BEN
Yes.
MAN AT SINK
Give the bride a message for me.
Tell her to act surprised.
A great deal of laughter follows this gem.
CUT TO:
230 EXT. ROAD NO. 1 TO SANTA BARBARA - DAY
Ben driving (right to left). The laughter from the previous
scene can still be heard for a moment.
Ben is exhausted-looking. He opens the windows, turns the
radio on and rubs his eyes.
231 EXT. VARIOUS ROADS TO SANTA BARBARA - DAY
SEQUENCE OF SHOTS
The car, moving speedily (right to left) south on the
Highway to Santa Barbara.
232 EXT. 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, turns
into a gas station and stops near the office. Ben gets
out of the car and runs into the office.
233 INT. GAS STATION OFFICE - DAY
The clock on the office wall reads 2:05. The gas station
ATTENDANT is sitting reading a stock car magazine.
BEN
Do you have a phone?
The attendant points. Ben reaches for the phone book
hanging under the pay phone.
234 SHOT - 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.
235 SHOT - THE PAGE
Ben's finger runs up and down and stops at the name:
Smith, Carl W., M.D.
236 SHOT - BEN
He inserts a dime and dials. The attendant watches him.
SOUND of BUZZING from the phone. It CLICKS open.
237 SHOT - TIGHT ON BEN
WOMAN'S VOICE
657-2036
BEN
Hello - who is this?
WOMAN'S VOICE
This is Dr. Smith's answering service.
BEN
Is the doctor anywhere?
WOMAN'S VOICE
Well - you see - the doctor is at his
son's wedding, but I'm sure it's over
by now. He should be checking in any
moment -
BEN
Listen to me. I am Dr. Smith's
brother - Reverend Smith - and I
am supposed to perform the ceremony.
I just got in - from - Portland -
and I've forgotten what church - you
see?
238 SHOT - THE ATTENDANT
The attendant puts down his magazine and stares.
239 SHOT - TIGHT ON BEN
WOMAN'S VOICE
Oh. Well - I'm not sure - but you
might try the First Presbyterian.
That's on Allan Street.
BEN
Thank you.
WOMAN'S VOICE
I certainly hope you -
240 SHOT - BEN
Ben hangs up the phone. He turns to the attendant.
BEN
Allan Street. Where is it?
ATTENDANT
(suspiciously)
Six blocks up - three blocks over.
Ben runs out of the office. The attendant goes to the
door.
241 EXT. GAS STATION - DAY - SHOT OF BEN
getting into car. The attendant is in the b.g.
ATTENDANT
You need any gas, Father?
BEN
I'm not a priest - I'm a minister.
The car drives out of the station.
242 EXT. SANTA BARBARA STRRET - DAY
The car comes toward us through the traffic. It stops
in the intersection to make the turn.
243 SHOT - INT. CAR
SOUND: THE ENGINE FAILING. Ben looks down.
244 SHOT - THE GAS GAUGE
The needle is on "E".
245 SHOT - BEN
He pumps the gas pedal.
246 SHOT - THE CAR
It makes the turn and rolls to a stop by the curb.
147 SHOT - BEN
He jumps out of the car, leaving the door open, and
starts to run down the street.
248 EXT. STREET NEAR CHURCH - SHOT - WITH BEN AS HE RUNS
He looks up ahead on the other side of the street.
249 EXT. CHURCH - WHAT HE SEES
The First Presbyterian Church.
250 EXT. STREET IN FRONT OF CHURCH - DAY (2:15 PM) - SHOT OF
BEN
Running across the street. He stops for a moment and looks
around. There are a number of cars parked in front of the
church. Among them is Mrs. Robinson's car. Ben runs by
it and up the steps to the front doors of the church.
251 EXT. CHURCH - DAY - SHOT OF BEN
He pulls at the doors. They are locked. Through the glass
doors, we can see to the front of the church where the
wedding ceremony is taking place.
252 EXT. SIDE OF CHURCH - DAY - SHOT OF BEN
running around the side of the church. There are glass
windows and doors through which, as he runs, we can see
the ceremony continuing.
253 EXT. BACK OF CHURCH - DAY
Ben runs, looking for an entrance. He goes all the way
around the church and stops at a side door. He opens the
door and goes in.
254 INT. CHURCH - BALCONY - DAY
The balcony is between two huge windows, one of which looks
out on the lawn outside, the other looks into the interior
of the church where the ceremony is taking place. The sun
is coming through the window. Ben stops and looks through
the inside window. The minister is just closing the book.
He says something and Carl and Elaine kiss.
BEN
Oh, Jesus - God - no -
He puts his hands up against the glass and slumps. The
minister 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
on the glass.
BEN
Elaine - Elaine!
Ben's shadow is thrown across the celebrants. They all
turn around and look up at him.
256 INT. CHURCH - DAY - SHOT FROM FRONT OF CHURCH
Ben is like a trapped moth, beating on the window and yelling
soundlessly.
257 SHOT - MRS. ROBINSON
She looks up at Ben with a small, triumphant smile.
258 SHOT - MR. ROBINSON
looking up at Ben.
259 SHOT - CARL
looking up at Ben.
260 SHOT - ELAINE
looking up at Ben. She moves down the aisle toward him,
dazed.
261 SHOT - ALL OF THEM
Mr. Robinson, Carl, and Mrs. Robinson are moving toward
Elaine. The ORGAN is playing LOUDLY. Ben's voice can
be heard SHOUTING Elaine's name. The POUNDING on the
glass can be heard.
CARL
Who is that guy? What's he doing?
MR. ROBINSON
I'll take care of him.
MRS. ROBINSON
He's too late.
The other guests are adlibbing their confusion.
262 SHOT - ELAINE
She turns back toward her mother, father and Carl as they
come toward her.
263 CLOSEUP - ELAINE
looking at them. ALL SOUND STOPS, except for Ben's
voice in the distance shouting "ELAIN ELAINE ELAINE."
264 ELAINE'S POV - CARL
Frozen frame.
265 ELAINE'S POV - MR. ROBINSON
Frozen frame.
266 ELAINE'S POV - MRS. ROBINSON
Frozen frame.
267 SHOT - ELAINE
Her face turning quickly to look up at Ben.
268 ELAINE'S POV - BEN
Frozen frame. His face twisted with passion, his body
spread-eagled against the glass.
269 CLOSEUP - ELAINE
looking up at Ben.
ELAINE
(screaming)
Ben!
The SOUND of the ORGAN and the guests' VOICES starts again.
270 INT. CHURCH VESTIBULE - STAIRS - DAY - SHOT - BEN
He starts to go back down the stairs. He reaches the
bottom of the stairs and goes through a door which leads
into the vestibule of the church.
271 INT. CHURCH VESTIBULE - DAY
Mr. Robinson is waiting for Ben, crouching, his arms spread.
Behind him is Elaine. Ben moves toward them. Mr. Robinson
grabs Ben around the waist. Ben twists away. Mr. Robinson
grabs Ben's collar and tears his jacket half off. Ben
turns and hits Mr. Robinson in the face. Mr. Robinson
falls down. Ben moves to Elaine and grabs her hand. He
pulls her toward the doors.
BEN
Come on - don't faint.
272 SHOT - THE ORGANIST
His back to the action, clawing away at the organ
obliviously.
273 SHOT - THE DOOR
A man in clerical garb is guarding the door. Ben and
Elaine move toward the door.
BEN
Out of my way!
Carl steps in and grabs Ben from behind. Ben breaks
Carl's hold and picks up a gold cross off a nearby stand.
He begins to swing it, advancing toward Carl. Carl
backs up toward the other guests.
274 NEW ANGLE
Mrs. Robinson steps to Elaine. She reaches out and takes
Elaine's wrist.
MRS. ROBINSON
Elaine - it's too late.
Elaine pulls her hand away.
ELAINE
Not for me.
275 SHOT BEN
He turns toward the man standing in front of the door and
raises the cross over his head.
BEN
MOVE!
The man moves away from the door. Elaine steps forward
and opens the door. She and Ben go out.
276 EXT. FRONT OF CHURCH - DAY
Ben jams the cross through the handles of the door. He
grabs Elaine's wrist.
BEN
Run, Elaine, run!
They start to run. Elaine trips and falls. Ben helps her
up and they continue to run.
277 INT. 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
jammed doors. Mrs. Robinson turns toward us and calmly
begins to put on her gloves.
278 EXT. STREET IN FRONT OF CHURCH - DAY
Ben and Elaine running along the sidewalk. Ben holds
her hand and is pulling her. She still holds her
flowers. They run to a bus that is just closing its
doors.
279 SHOT - BEN
He bangs on the closed door of the bus. The door opens.
Ben climbs the step into the bus and pulls Elaine up
after him. The doors close.
280 INT. BUS NO. 2 - DAY - SHOT OF BEN, ELAINE AND DRIVER
Ben holds out a dollar bill.
BEN
How much?
DRIVER
Where do you want to go?
BEN
To 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.
281 BEN'S POV
He sees the driver and the passengers, all turned around
in their seats and looking back at them.
282 SHOT - BEN
BEN
Let's go. Let's get this bus
moving!
283 SHOT - THE DRIVER
He turns and starts the bus.
284 SHOT - BEN AND ELAINE
They are breathing heavily.
ELAINE
Benjamin?
BEN
What?
She takes his hand.
285 EXT. STREET IN FRONT OF CHURCH - DAY
Through the window in the back of the bus the church can
be seen receding in the distance. There seem to be a
number of men dressed in black running around in the
street in front of it.
FADE OUT
THE END
