"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

"THE GRADUATE"

Screenplay by

Buck Henry

Prod. No. 20055

FINAL DRAFT

March 29, 1967



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.

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.

EXT. AMPHITHEATRE - SHOT OF AUDIENCE - DAY

Thousands of expressionless STUDENTS are sitting there.

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 uncompromising ambition would be
meaningless. 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.

SHOT - AMPHITHEATRE AUDIENCE - DAY

staring at him impassively.

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.

EXT. PODIUM OF AMPHITHEATRE - DAY

BEN
The purpose, my fellow graduates --
the purpose is --

He stops, trying to think of the word.

CLOSEUP - BEN

He begins to sweat.

SHOT - AMPHITHEATRE AUDIENCE

watching.

SHOT - PODIUM of AMPHITHEATRE Ben's hands searching through
the pages of his speech.

The pages begin to blow away in the wind.

SHOT - AMPHITHEATRE AUDIENCE - DAY

staring.

SHOT - PODIUM OF AMPHITHEATRE - DAY

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

CLOSEUP - BEN

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

SHOT - AMPHITHEATRE - DAY

The audience is gone.

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.

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:

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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, looking 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:

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:

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.

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 neurotic.

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.

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.

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.

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.

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.

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
afternoon's feature attraction.

CUT TO:

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 watching. 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 Halpingham 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!

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.

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 rhythmic 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.

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:

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 somewhere. 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 the lobby. He stops.

What he sees: The room clerk across 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.

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.

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:

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:

ANGLE ON BEN

sitting smoking.

CUT TO:

NEW ANGLE ON BEN

sitting.

CUT TO:

NEW ANGLE ON BEN

sitting drinking.

CUT TO:

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.

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 myself. 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.

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.

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.

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.

INT. LOBBY - PHONE BOOTH - SHOT - BEN

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

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.

INT. HOTEL CORRIDOR - NIGHT

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

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.

INT. HOTEL ROOM - NIGHT

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

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:

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:

CLOSER SHOT - BEN

drifting.

DISSOLVE TO:

CLOSER ANGLE ON BEN

drifting.

DISSOLVE TO:

CLOSE SHOT - BEN

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

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.

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.

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 bracelet
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.

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.

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.

REVERSE

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

REVERSE

CLOSEUP of television set and cartoon.

REVERSE

Ben watching.

REVERSE

CLOSEUP test pattern.

CUT TO:

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.

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.

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.

SHOT - UNDERWATER

Ben swims toward us the length of the pool.

SHOT - AT THE WATERLINE

Ben surfaces and, in one movement, pulls himself up on the
raft and --

CUT TO:

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:

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:

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 himself
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.

SHOT - BEN

BEN
Hello, Mrs. Robinson.

MRS. ROBINSON
Hello, Benjamin.

DISSOLVE TO:

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.

SHOT - MRS. BRADDOCK

MRS. BRADDOCK
(she exits)
Goodnight.

BEN'S VOICE
Wait a minute.

CUT TO:

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 goddamn
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 afternoon 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 gets 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 occurred 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:

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:

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:

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 awkward 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.

SHOT - BEN

He slides off the raft and goes underwater.

SHOT - BEN UNDERWATER

His hair streaming up, his eyes open.

CUT TO:

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 and 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:

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:

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.

SHOT - BEN AND MRS. ROBINSON

NOTE: Following dialogue played simultaneously

BEN
Now listen -- this was
not my idea. It was my
father's idea.

MRS. ROBINSON
Benjamin -- I thought
I made myself perfectly
clear about this.

BEN
(whispering
urgently)
Look, we'll go out to
dinner and have a drink
and I'll bring her
back. Because it was
either that or a dinner
party for the two
families. And I'm afraid
I couldn't quite handle
that, if you 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'S VOICE
(from hall)
Hey -- there she is. Miss
America -- that's who it
is. It's definitely Miss
America.

ELAINE'S VOICE
Daddy -- can you fix this? The clasp
is broken I think.

MR. ROBINSON'S VOICE
I'll do it -- I'll do it.

ELAINE'S VOICE
Is Ben here?

MR. ROBINSON'S VOICE
He's in the living room
having a chat with your
mother.

Mr. Robinson and ELAINE enter.

ELAINE
Hello.

BEN
Hello.

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:

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:

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:

EXT. SUNSET STRIP - NIGHT - SHOTS

Ben and Elaine walking on the strip.

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:

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.

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.

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.

SHOT - ELAINE

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

SHOT - BEN

With Elaine's face reflected in his glasses.

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.

SHOT - BEN

He reaches up to remove the glasses.

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.

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:

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:

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.

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:

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.

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.

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.

CAMERA 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:

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.

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.

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:

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 windshield 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.

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 driveway
toward the Robinson house. Ben gets to the front door.

BEN
(as he goes through
the door)
Elaine!

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.

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.

SHOT - OVER BEN'S SHOULDER

Mrs. Robinson is just entering the house.

BEN
NO.

He turns around.

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!

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.

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!

INT. ROBINSON HALL - DAY

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

MRS. ROBINSON
(calmly)
Goodbye, Benjamin.

SHOT - BENJAMIN

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

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:

INT. BEN'S ROOM - NIGHT

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

DISSOLVE THROUGH TO:

EXT. ROBINSON HOUSE - DAY

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

DISSOLVE TO:

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:

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:

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:

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:

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:

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:

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:

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.

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 system here in Greenland isn't
the most efficient. Life among these
wonderful natives...

It runs down.

CUT TO:

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:

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:

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:

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.

SHOT - RECEPTIONIST

Looking at Ben.

SHOT - BEN

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

DISSOLVE THROUGH TO:

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:

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:

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:

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.

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

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

EXT. CAMPUS BUILDING - DAY - LONG SHOT

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

SHOT - BEN

He sees her and stiffens.

SHOT - ELAINE

Approaching from the distance.

SHOT - BEN

He stands.

SHOT - ELAINE

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

SHOT - BEN

Watching. He takes a step forward.

SHOT - ELAINE AND GIRL

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

SHOT - BEN

He starts toward them, falters, straightens himself.

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.

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.

SHOT - BEN'S POV

Elaine and the others staring at him.

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:

INT. ROOMING HOUSE - BEN'S ROOM - DAY

Ben leans with his back against the closed door, breathing
heavily.

DISSOLVE TO:

EXT. VARIOUS CAMPUS LOCATIONS - DAY - SERIES OF SHOTS

Ben following and watching Elaine.

DISSOLVE TO:

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.

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.

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.

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:

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 Berkeley?

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:

SHOT - CARL AND ELAINE

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

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
description of the animal -- that begins to deliver its
RECORDED MESSAGE.

DISSOLVE TO:

INT. ROOMING HOUSE - BEN'S ROOM - DAY

Ben is standing by the window, looking out.

EXT. ROOMING HOUSE - STREET - DAY

SHOT - THROUGH THE WINDOW

Elaine is walking up the street toward the rooming house.

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

He jumps to the other side of the window and peers out
carefully.

EXT. ROOMING HOUSE - STREET - DAY - SHOT - THROUGH THE
WINDOW

Elaine turns in and disappears into the rooming house front
door below.

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 FOOTSTEPS 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.

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.

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 suitcase 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.

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:

INT. ROOMING HOUSE - BEN'S ROOM - NIGHT

Ben asleep in his bed. Suddenly he sits up.

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:

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:

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:

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.

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:

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:

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:

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 position. 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:

EXT. BERKELEY STREET - DAY

Through the window of a hippy jewelry store we see a
saleswoman 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.

INT. ROOMING HOUSE - DOWNSTAIRS - NIGHT

Ben enters carrying four oddly shaped boxes and some flowers.

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 to 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.

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.

EXT. ROOMING HOUSE STREET - NIGHT - WHAT HE SEES

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

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

He runs out of his room.

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:

INT. WENDELL HALL - DAY - CLOSEUP - LADY RECEPTIONIST # 2

LADY RECEPTIONIST #2
(hanging up phone)
Elaine Robinson has left the school.

CUT TO:

CLOSEUP - BEN

Ben reacting.

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

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:

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
day I will write a long letter about
everything but right now I can't
think 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.

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.

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.

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.

INT. SUNROOM - NIGHT

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

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?

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.

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?

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.

INT. ROBINSON HALLS - NIGHT

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

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.

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.

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.

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.

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.

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
Probably 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:

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
direction 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:

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.

EXT. VARIOUS ROADS TO SANTA BARBARA - DAY

SEQUENCE OF SHOTS

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

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.

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.

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.

SHOT - THE PAGE

Ben's finger runs up and down and stops at the name: Smith,
Carl W., M.D.

SHOT - BEN

He inserts a dime and dials. The attendant watches him.

SOUND of BUZZING from the phone. It CLICKS open.

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?

SHOT - THE ATTENDANT

The attendant puts down his magazine and stares.

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 --

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.

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.

EXT. SANTA BARBARA STRRET - DAY

The car comes toward us through the traffic. It stops in the
intersection to make the turn.

SHOT - INT. CAR

SOUND: THE ENGINE FAILING. Ben looks down.

SHOT - THE GAS GAUGE

The needle is on "E".

SHOT - BEN

He pumps the gas pedal.

SHOT - THE CAR

It makes the turn and rolls to a stop by the curb.

SHOT - BEN

He jumps out of the car, leaving the door open, and starts
to run down the street.

EXT. STREET NEAR CHURCH - SHOT - WITH BEN AS HE RUNS

He looks up ahead on the other side of the street.

EXT. CHURCH - WHAT HE SEES

The First Presbyterian Church.

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.

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.

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.

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.

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.

INT. CHURCH - DAY - SHOT FROM FRONT OF CHURCH

Ben is like a trapped moth, beating on the window and yelling
soundlessly.

SHOT - MRS. ROBINSON

She looks up at Ben with a small, triumphant smile.

SHOT - MR. ROBINSON

looking up at Ben.

SHOT - CARL

looking up at Ben.

SHOT - ELAINE

looking up at Ben. She moves down the aisle toward him, dazed.

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 ad-libbing their confusion.

SHOT - ELAINE

She turns back toward her mother, father and Carl as they
come toward her.

CLOSEUP - ELAINE

looking at them. ALL SOUND STOPS, except for Ben's voice in
the distance shouting "ELAINE ELAINE ELAINE."

ELAINE'S POV - CARL

Frozen frame.

ELAINE'S POV - MR. ROBINSON

Frozen frame.

ELAINE'S POV - MRS. ROBINSON

Frozen frame.

SHOT - ELAINE

Her face turning quickly to look up at Ben.

ELAINE'S POV - BEN

Frozen frame. His face twisted with passion, his body spread-
eagled against the glass.

CLOSEUP - ELAINE

looking up at Ben.

ELAINE
(screaming)
Ben!

The SOUND of the ORGAN and the guests' VOICES starts again.

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.

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.

SHOT - THE ORGANIST

His back to the action, clawing away at the organ obliviously.

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.

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.

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.

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.

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.

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.

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.

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.

BEN'S POV

He sees the driver and the passengers, all turned around in
their seats and looking back at them.

SHOT - BEN

BEN
Let's go. Let's get this bus moving!

SHOT - THE DRIVER

He turns and starts the bus.

SHOT - BEN AND ELAINE

They are breathing heavily.

ELAINE
Benjamin?

BEN
What?

She takes his hand.

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

Contact | Disclaimer
Copyright © WeeklyScript.com | Scripts Copyright © their respective owners