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Graduate, The (1967)
by Buck Henry.
Final draft, March 29, 1967.
More info about this movie on imdb.com
1 EXT. AMPHITHEATRE - DAY
SHOT - HELICOPTER'S POV -
Moving through clouds. The clouds separate and, far below, we can
see a giant outdoor amphitheatre. There is no SOUND but the WIND.
As we move closer to the amphitheatre, we can hear SNATCHES OF WORDS
and PHRASES as though from a public address system.
2 EXT. AMPHITHEATRE - PODIUM - DAY - SHOT OF BEN
in cap and gown, standing in front of a microphone. The WIND is
BLOWING. He has to hold on to the papers from which he is reading.
3 EXT. AMPHITHEATRE - SHOT OF AUDIENCE - DAY
Thousands of expressionless STUDENTS are sitting there.
4 EXT. AMPHITHEATRE - SHOT OF PODIUM - DAY
BEN
- and today it is right that we
should ask ourselves the one most
important question: What is the
purpose of these years, the purpose
for all this demanding work,
the purpose for the sacrifices
made those who love us? Were
there NOT a purpose, then all of
these past years of struggle, of
fierce competition and of uncom-
promising ambition would be mean-
ingless. But, of course, there
is a purpose and I must tell it
to you. I ask you to remember
this purpose always and I pledge
that I shall endeavor to carry it
with me forever.
5 SHOT - AMPHITHEATRE AUDIENCE - DAY
staring at him impassively.
6 INTERCUT BETWEEN SHOTS
of impassive students, seated, watching; of Ben standing
alone on the huge amphitheatre stage; of CLOSEUPS of Ben
speaking; of loudspeakers; of wind-blown papers on the
podium.
7 EXT. PODIUM OF AMPHITHEATRE - DAY
BEN
(continuing)
The purpose, my fellow graduates -
the purpose is -
He stops, trying to think of the word.
8 CLOSEUP - BEN
He begins to sweat.
9 SHOT - AMPHITHEATRE AUDIENCE
watching.
10 SHOT - PODIUM of AMPHITHEATRE
Ben's hands searching through the pages of his speech.
The pages begin to blow away in the wind.
11 SHOT - AMPHITHEATRE AUDIENCE - DAY
staring.
12 SHOT - PODIUM OF AMPHITHEATRE - DAY
BEN
- there is a reason, my friends,
and the reason is -
13 CLOSEUP - BEN
He is in a panic. He looks up from his papers at the audience.
14 SHOT - AMPHITHEATRE - DAY
The audience is gone.
15 SHOT - PODIUM OF AMPHITHEATRE - DAY
BEN
- the reason is - the purpose is -
SOUND of the WIND becoming the ROAR of an AIRCRAFT coming at
us through the air.
16 SHOT - AMPHITHEATRE - DAY
Huge and empty. SOUND of AIRCRAFT.
CAPTAIN'S VOICE
Ladies and gentlemen, we are about
to begin our descent into Los Angeles -
SOUND of a SONIC BOOM.
CUT TO:
17 INT. PLANE - CLOSEUP - BEN - NIGHT
His eyes open suddenly.
CAPTAIN'S VOICE
The sound you have just heard is the
landing gear locking into place. The
Los Angeles weather is clear and the
temperature is a pleasant 72. We do
not expect any traffic delay and will
make our four hour and eighteen minute
flight plan smack on the nose. We
enjoyed having you on board and look
forward to seeing you again in the near
future.
18 SHOT
PULL BACK SLOWLY from a CLOSEUP of a television screen with
snow on it to reveal a long row of television sets along the
ceiling of the aircraft. There is snow on all of them.
19 REVERSE ANGLE
PULL BACK from the CLOSEUP of Ben to reveal a row of passengers
staring straight ahead, their headsets on. Ben turns and
looks out the window.
20 EXT. LOS ANGELES - FROM THE AIR - NIGHT
Los Angeles, at night, its lights stretching endlessly in every
direction.
SOUND - MUZAC and the STEWARDESS' LANDING SPEECH.
START OF MAIN TITLES
UNDER titles:
STEWARDESS' VOICE
Ladies and gentlemen please fasten your
seat belts in preparation for the landing
and observe the no smoking sign. After
we land, you will notice an increase in
the sound level as the thrust of the engines
is reversed to help reduce forward speed.
21 INT. AIRPORT - MOVING SIDEWALK - NIGHT
Ben and the other passengers on the automatic sidewalk.
MAN'S VOICE
Your attention, please! American Airlines
Flight Number 4, 21 Club service, non-stop
to New York is now leaving from Gate
Number 40. All aboard, please.
28 INT. BEN'S ROOM - NIGHT - CLOSEUP - BEN
His eyes are open and he is trying to remember something.
There are the SOUNDS of many people TALKING and LAUGHING
in other rooms. A RADIO nearby PLAYS MUSIC. After a
while, there is the SOUND of a DOOR OPENING. The SOUNDS
of the people TALKING are lower. MRS. TERHUNE'S voice
can be heard among them.
MRS. TERHUNE'S VOICE
-- associate editor of the college
newspaper in his junior year -
managing editor in his senior
year -
The SOUND of the DOOR CLOSING. Mrs. Terhune's VOICE and
the VOICES of the other guests FADE DOWN. Mrs. Terhune's
VOICE can be HEARD with varying clarity through the
remainder of the sequence.
After a few moments, there is the SOUND of a LIGHT SWITCH
being SNAPPED and light, as though from an overhead fixture,
falls across BEN's face. He does not move.
After a few moments, there is the SOUND of the RADIO being
SNAPPED OFF.
MR. BRADDOCK'S VOICE
What's the matter?
Ben's mouth opens a little bit and closes again.
MR. BRADDOCK'S VOICE
The guests are all downstairs,
Ben. They're all waiting to see you.
BEN
Look, Dad - could you explain to
them that I have to be alone for
a while?
MR. BRADDOCK'S VOICE
These are all our good friends,
Ben. Most of them have known you
since - well - practically since
you were born.
Ben has not moved. Now the bed on which he is lying moves
as though someone has sat down upon it next to him.
MR. BRADDOCK'S VOICE
What is it, Ben?
The CAMERA BEGINS TO PULL BACK SLOWLY.
BEN
I'm just -
MR. BRADDOCK
- worried?
BEN
Well -
MR. BRADDOCK
About what?
Ben
I guess - about my future.
MR. BRADDOCK
What about it?
BEN
I don't know. I want it to be -
MR. BRADDOCK
To be what?
BEN
(quietly)
Different.
As Ben says this, the door to the bedroom opens and
MRS. BRADDOCK looks in.
MRS. BRADDOCK
Is anything wrong?
MR. BRADDOCK
No! No - we're just on our way
downstairs!
Mr. Braddock gets off the bed and goes to a chair and
picks up Ben's jacket which is lying across it.
MRS. BRADDOCK
The Carlsons' are here.
MR. BRADDOCK
(to Mrs. Braddock)
They are?
(to Ben)
Come on.
Mr. Braddock puts the jacket on Ben.
MRS. BRADDOCK
They came all the way from
Tarzana.
MR. BRADDOCK
It's a wonderful thing to have
so many devoted friends.
They move out of the door, Mr. Braddock steering Ben.
29 INT. HALLS AND STAIRWAY - NIGHT
PHIL and MIMI CARLSON are coming up the stairs as the
Braddocks are moving down.
MR. CARLSON
Hey - there's our award winning
scholar.
MRS. CARLSON
We're all very proud of you,
Ben.
BEN
Thank you, Mrs. Carlson.
MR. CARLSON
Is that the new car out there?
The little red Wop job?
MR. BRADDOCK
That's Ben's graduation present.
MR. CARLSON
(putting his arm
across Ben's shoulder)
Won't have much trouble picking
them up in that, will you?
BEN
Sir?
MR. CARLSON
The girls. The chicks. The -
the teeny boppers.
MRS. CARLSON
I think Ben has gotten beyond
the teeny bopper stage - haven't
you, Ben?
Mrs. Carlson gives Ben a broad wink. Ben tries to smile
and return the wink politely.
BEN
Yes, ma'am.
They reach the hall at the bottom of the stairs.
BEN
Excuse me - I think I'd just
like to check something on
the car for a minute -
Ben moves to the front door and opens it. MR. LOOMIS
steps into the house and grabs Ben's hand.
MR. LOOMIS
Here's the track star himself.
How are you, track star?
BEN
Just fine, Mr. Loomis.
Mr. Loomis closes the door and pushes Ben back down the
hall.
MR. LOOMIS
I want to get a drink and then
I want to hear all about that
thing you won. That Hopperman
award.
BEN
Helpingham.
MR. LOOMIS
Helpingham! Right! Now you
wait right here.
Mr. Loomis turns and goes into the dining room. Ben
moves back to the stairway as THREE LADIES come out of
the living room. One lady takes Ben's right hand, another
lady his left, the third fingers the front of his jacket.
LADY 1
Ben - we're all so proud of
you.
LADY 2
Proud, proud, proud, proud,
proud.
LADY 3
What are you going to do now?
BEN
I was going to go upstairs for a
minute -
LADY 3
No - I meant with your future.
LADY 2
With your life.
BEN
Well - that's a little hard to say -
MR. MCQUIRE appears behind Ben.
MR. MCQUIRE
Ben!
Ben
(to the ladies)
Excuse me.
(he turns around)
Mr. McQuire
MR. MCQUIRE
(overwhelmed with pride)
Ben.
BEN
Mr. McQuire.
Mr. McQuire takes Ben's arm and steers him down the hall
toward the back of the house and out through the back door.
30 EXT. BRADDOCK BACKYARD AND POOL AREA - NIGHT
The pool is eerily lit. There are FOUR PEOPLE standing and
TALKING, drinks in their hands, at the back of the yard.
MR. MCQUIRE
Ben - I just want to say one word to
you - just one word -
BEN
Yes, sir.
MR. MCQUIRE
Are you listening?
BEN
Yes I am.
MR. MCQUIRE
(gravely)
Plastics.
They look at each other for a moment.
BEN
Exactly how do you mean?
MR. MCQUIRE
There is a great future in plastics.
Think about it. Will you think
about it?
BEN
Yes, I will.
MR. MCQUIRE
Okay. Enough said. That's a deal.
Mr. McQuire turns and walks back into the house. The
people at the other end of the yard look toward Ben.
WOMAN #1
Here he is now. Here's Ben.
BEN
Excuse me just a minute -
Ben goes into the house through the back door.
31 EXT. BRADDOCK BACKYARD AND POOL AREA - NIGHT
We can see through the windows of the house, Ben making his
way through people trying to stop him and speak to him as he
goes through rooms, up the stairs and to his room.
SOUND of a door SLAMMING.
32 INT. - EXT. BEN'S ROOM - NIGHT
Ben stands with his back against the door. The SOUNDS of the
PARTY downstairs and, as Ben walks across the room to a
window, the SOUND of the WIND.
32A SHOT - LONG SHOT (Location)
Over Ben to pool area and people below. SOUND of the door
OPENING. Ben turns. MRS. ROBINSON enters the room.
MRS. ROBINSON
Oh. I guess this isn't the
bathroom, is it?
BEN
It's down the hall.
They stand for a moment, loocking at each other.
MRS. ROBINSON
How are you, Benjamin?
BEN
Fine, thank you. The bathroom is
down at the end of the hall.
Mrs. Robinson moves into the room and sits on the edge
of the bed.
BEN
Look, Mrs. Robinson, I don't
mean to be rude but -
Mrs. Robinson takes a cigarette from her purse and
lights it.
MRS. ROBINSON
Is there an ashtray in here?
BEN
No.
MRS. ROBINSON
Oh - I forgot. The track star
doesn't smoke.
She blows out the match and puts it down carefully on
the bedspread. Ben picks up a wastebasket, walks over
to the bed, picks up the match and puts it in the
wastebasket.
MRS. ROBINSON
Is it a girl?
BEN
Is what a girl?
MRS. ROBINSON
Whatever it is you're upset
about.
BEN
Oh - no. I'm just sort of
disturbed about things.
MRS. ROBINSON
In general.
BEN
That's right.
There is a long pause.
MRS. ROBINSON
Benjamin, I want to ask you
something.
BEN
What?
MRS. ROBINSON
Will you take me home?
BEN
What?
MRS. ROBINSON
My husband took the car. Will
you drive me home?
Ben reaches into his pocket and hands Mrs. Robinson
a set of car keys.
BEN
Here - you take it.
Mrs. Robinson looks at him.
BEN
Do you know how to work a
foreign shift?
Mrs. Robinson shakes her head.
BEN
You don't?
MRS. ROBINSON
No.
(there is a pause)
BEN
Let's go.
She throws the keys to him. He catches them.
CUT TO:
33 EXT. BRADDOCK HOUSE - NIGHT
SHOOTING THROUGH THE OPEN FRONT DOOR. Mr. Braddock is
talking to the Terhunes at the door. Ben and Mrs.
Robinson come down the hall.
BEN
Dad - Mrs. Robinson needs a ride
home. I'll be right back.
Mr. Braddock pats Ben on the shoulder. Mrs. Robinson
is walking ahead through the front door.
MRS. ROBINSON
(as she passes the
CAMERA)
Wonderful party.
CUT TO:
34 OMITTED
35 EXT. ROBINSON HOUSE - NIGHT
The car comes to a stop in the Robinson driveway. They sit
for a moment.
MRS. ROBINSON
Thank you.
BEN
Right.
She doesn't move. Ben gets out and goes around to her side
and opens the door.
MRS. ROBINSON
Will you come in, please?
BEN
What?
MRS. ROBINSON
I want you to come in till I get
the lights on.
BEN
What for?
MRS. ROBINSON
Because I don't feel safe until
I get the lights on.
They move to the door. She takes out her key and opens
the door.
36 INT. ROBINSON HALL AND SUNROOM - NIGHT
MRS. ROBINSON
Would you mind walking ahead of
me to the sun porch. I feel
funny about coming into a dark
house.
BEN
But it's light in there now.
MRS. ROBINSON
Please.
Ben turns and walks down the hall. They enter sunroom.
MRS. ROBINSON
What do you drink? Bourbon?
BEN
Look - I drove you home. I was
glad to do it. But I have some
things on my mind. Can you
understand that?
She nods.
BEN
All right then.
MRS. ROBINSON
What do you drink?
He looks at her.
MRS. ROBINSON
Benjamin - I'm sorry to be this
way, but I don't want to be
alone in this house.
BEN
Why not?
MRS. ROBINSON
Please wait till my husband
gets home.
BEN
When is he coming back?
MRS. ROBINSON
I don't know.
She pours herself a drink.
MRS. ROBINSON
Drink?
BEN
No.
She hands him a drink. There is a pause.
BEN
Are you always this much afraid
of being alone?
MRS. ROBINSON
Yes.
BEN
Well, why can't you just lock
the doors and go to bed?
MRS. ROBINSON
I'm very nuerotic.
She turns on the phonograph. SOUND of PHONOGRAPH.
MRS. ROBINSON
May I ask you a question?
Ben looks at her.
MRS. ROBINSON
What do you think of me?
BEN
What do you mean?
MRS. ROBINSON
You've known me nearly all of
your life. You must have
formed some opinion.
BEN
Well - I've always thought
that you were a very - nice -
person.
MRS. ROBINSON
Did you know I was an alcoholic?
BEN
What?
MRS. ROBINSON
Did you know that?
BEN
Look - I think I should be
going -
MRS. ROBINSON
Sit down, Benjamin.
BEN
Mrs. Robinson - if you don't
mind my saying so - this
conversation is getting a
little strange. Now I'm sure
that Mr. Robinson will be here
any minute and -
MRS. ROBINSON
No.
BEN
What?
MRS. ROBINSON
My husband will be back quite
late.
They look at each other. Ben is half standing.
MRS. ROBINSON
He should be gone for several
hours.
She takes a step toward him. He puts his hand up and
retreats around the other side of the chair.
BEN
Oh my God.
MRS. ROBINSON
Pardon?
BEN
Oh no, Mrs. Robinson, oh no.
MRS. ROBINSON
What's wrong?
BEN
Mrs. Robinson, you didn't -
I mean you didn't expect -
MRS. ROBINSON
What?
BEN
I mean - you didn't really
think that I would do something
like that.
MRS. ROBINSON
Like what?
BEN
What do you think?
MRS. ROBINSON
Well I don't know.
BEN
For God's sake, Mrs. Robinson,
here we are, you've got me into
your house. You give me a
drink. You put on music, now
you start opening up your
personal life to me and tell
me your husband won't be home
for hours.
MRS. ROBINSON
So?
BEN
Mrs. Robinson - you are trying
to seduce me.
There is a pause. She looks at him.
BEN
(weaker)
Aren't you?
MRS. ROBINSON
Why no. I hadn't thought of it.
I feel rather flattered that
you -
BEN
Mrs. Robinson, will you forgive
me for what I just said?
MRS. ROBINSON
It's all right.
BEN
It's not all right, it's the
worst thing I've ever said
to anyone.
MRS. ROBINSON
Sit down.
BEN
Please forgive me. Because I
like you. I don't think of you
that way. But I'm mixed up.
MRS. ROBINSON
All right. Now finish your drink.
BEN
Mrs. Robinson, it makes me sick
that I said that to you.
MRS. ROBINSON
We'll forget it right now.
Finish your drink.
BEN
What is wrong with me?
MRS. ROBINSON
Have you ever seen Elaine's
portrait?
BEN
Her portrait?
MRS. ROBINSON
Yes.
BEN
No.
MRS. ROBINSON
We had it done last Christmas.
Would you like to see it?
BEN
Very much.
We move with Mrs. Robinson and Ben out of the sunroom,
into the hall, up the stairs and along the hall to
the doorway to Elaine's room.
37 INT. ELAINE'S ROOM - NIGHT
Ben moves into the room and looks up at the portrait.
BEN
Elaine certainly is an
attractive girl, isn't she?
In the b.g. Mrs. Robinson watches him.
BEN
(looking at the
portrait)
I don't remember her as having
brown eyes.
MRS. ROBINSON
Benjamin?
BEN
Yes?
MRS. ROBINSON
Will you unzip my dress?
He steps back.
MRS. ROBINSON
I think I'll go to bed.
BEN
Oh. Well, goodnight.
MRS. ROBINSON
Won't you unzip my dress?
BEN
I'd rather not, Mrs. Robinson.
MRS. ROBINSON
If you still think I'm trying
to seduce you -
BEN
No, I don't. But I just feel
a little funny.
MRS. ROBINSON
Benjamin - you've known me all
your life.
BEN
I know that. But I'm -
MRS. ROBINSON
Come on.
She turns her back.
MRS. ROBINSON
It's hard for me to reach.
Ben reaches forward and pulls the zipper down.
MRS. ROBINSON
Thank you.
BEN
Right.
Ben walks toward the door.
MRS. ROBINSON
What are you so scared of?
BEN
I'm not scared, Mrs. Robinson.
MRS. ROBINSON
Then why do you keep running
away?
BEN
Because you're going to bed. I
don't think I should be up here.
Mrs. Robinson lets her dress fall to the floor.
MRS. ROBINSON
Haven't you ever seen anybody
in a slip before?
BEN
Yes, I have -
He looks up at the portrait of Elaine.
BEN
But I just - Look - what if Mr.
Robinson walked in right now?
MRS. ROBINSON
What if he did?
BEN
Well, it would look pretty
funny, wouldn't it?
MRS. ROBINSON
Don't you think he trusts us
together?
BEN
Of course he does. But he
might get the wrong idea.
Anyone might.
MRS. ROBINSON
I don't see why. I'm twice as
old as you are. How could
anyone think -
BEN
But they would! Don't you see?
MRS. ROBINSON
Benjamin - I'm not trying to
seduce you. I wish you'd -
BEN
I know that. But please, Mrs.
Robinson. This is difficult
for me.
MRS. ROBINSON
Why is it?
BEN
Because I am confused about
things. I can't tell what
I'm imagining. I can't tell
what's real. I can't -
MRS. ROBINSON
Would you like me to seduce you?
BEN
What?
MRS. ROBINSON
Is that what you're trying to
tell me?
BEN
I'm going home now. I apologize
for what I said. I hope you can
forget it. But I'm going home
right now.
Benjamin walks out of the door and down the hall. The
CAMERA PUSHES with him to the door. We see the entire
stairway and part of the downstairs hall. Ben gets to
the stairs and starts down.
MRS. ROBINSON'S VOICE
BENJAMIN?
BEN
Yes.
MRS. ROBINSON'S VOICE
Will you bring up my purse before
you go?
BEN
I have to go now. I'm sorry.
Mrs. Robinson walks into the hall. Her back is to us.
She is holding her dress in front of her.
MRS. ROBINSON
I really don't want to put this
on again. Won't you bring it
up?
BEN
Where is it?
MRS. ROBINSON
On that chair in the hall.
She walks out of the shot.
BEN
Mrs. Robinson?
MRS. ROBINSON'S VOICE
I'm in the bathroom.
BEN
Well here's the purse.
MRS. ROBINSON'S VOICE
Could you bring it up?
BEN
Well I'll hand it to you.
Ben starts back up the stairs.
BEN
Come to the railing and I'll
hand it up.
MRS. ROBINSON'S VOICE
Benjamin - I am getting pretty
tired of all this suspicion.
Now if you won't do me a simple
favor I don't know what.
Ben appears as he slowly climbs the stairs.
BEN
I'm putting it on the top step.
MRS. ROBINSON'S VOICE
For God's sake, Benjamin, will
you stop acting that way and
bring me the purse?
Ben gets to the top of the stairs, and starts slowly
down the hall.
BEN
I'm putting it here by the door.
MRS. ROBINSON'S VOICE
Will you bring it in to me?
BEN
I'd rather not.
MRS. ROBINSON'S VOICE
All right. Put it in the room
where we were.
BEN
Right.
38 INT. ELAINE'S ROOM - NIGHT
Ben walks quickly into Elaine's room, crosses to the
bed and puts the purse down. As he starts to turn
back, he looks up at Elaine's portrait. There is a
movement reflected in the glass of the portrait. He
turns quickly. Mrs. Robinson, naked, is shutting the
door to the bedroom behind her.
BEN
Oh God.
She smiles.
BEN
Let me out.
She turns the lock on the door.
MRS. ROBINSON
Don't be nervous.
BEN
Get away from that door.
MRS. ROBINSON
I want to say something first.
BEN
Jesus Christ!
MRS. ROBINSON
Benjamin - I want you to know
I'm available to you. If you
won't sleep with me this time -
BEN
Oh my God.
MRS. ROBINSON
If you won't sleep with me this
time, Benjamin, I want you to
know you can call me up any
time you want and we'll make
some kind of arrangement.
BEN
Let me out!
MRS. ROBINSON
Do you understand what I said?
BEN
Yes. Yes. Let me out!
MRS. ROBINSON
Because I find you very attractive
and any time -
There is the SOUND of a CAR in the driveway outside.
Ben leaps at the door, pushes Mrs. Robinson aside,
struggles with the door, gets the door open, runs into
the hall and down the stairs.
39 INT. SUNROOM - NIGHT
Ben rushes into the sunroom and sits down. SOUND of
FOOTSTEPS on the driveway outside. Ben jumps up, gets
the glass he had been drinking from and sits down again.
SOUND of the front door OPENING and CLOSING.
MR. ROBINSON'S VOICE
Is that Ben's car in front?
BEN
(jumping up)
Yes, sir!
FOOTSTEPS approach the sunroom. MR. ROBINSON enters.
BEN
I drove - I drove Mrs. Robinson
home. She wanted me to drive
her home so I - I drove her home.
MR. ROBINSON
Swell. I appreciate it.
BEN
She's upstairs. She wanted me
to wait down here till you got
home.
MR. ROBINSON
Standing guard over the old
castle, are you?
BEN
Yes, sir.
Mr. Robinson reaches for Ben's glass.
MR. ROBINSON
Here. It looks like you need
a refill.
BEN
Oh no.
MR. ROBINSON
What?
BEN
I've got to go.
MR. ROBINSON
Is anything wrong? You look
a little shaken up.
BEN
No. No - I'm just - I'm just
a little worried about my
future. I'm a little upset
about my future.
Mr. Robinson takes the glass from him.
MR. ROBINSON
Come on. Let's have a nightcap
together.
Mr. Robinson turns his back to Ben to mix the drinks.
Ben takes several deep breaths, straightens his tie
and checks to see if his fly is okay. Mr. Robinson
turns and brings him the drink.
BEN
Thank you very much, sir.
MR. ROBINSON
Ben - how old are you now?
BEN
Twenty. I'll be twenty-one
next week.
MR. ROBINSON
(taking out a
cigarette)
That's a hell of a good age
to be.
BEN
Thank you.
MR. ROBINSON
I wish I was that age again.
Because, Ben -
BEN
Sir?
MR. ROBINSON
You'll never be young again.
BEN
I know.
MR. ROBINSON
Ben, can I say something to
you?
BEN
What?
MR. ROBINSON
How long have we known each
other now?
Ben shakes his head.
MR. ROBINSON
How long have you and I known
each other? How long have
your Dad and I been partners?
BEN
Quite a while.
MR. ROBINSON
I've watched you grow up, Ben.
BEN
Yes, sir.
MR. ROBINSON
In many ways I feel as though
you were my own son.
BEN
Thank you.
MR. ROBINSON
So I hope you won't mind my
giving you a friendly piece
of advice.
BEN
I'd like to hear it.
MR. ROBINSON
Ben - I think - I think you
ought to be taking it a little
easier right now than you seem
to.
Ben nods.
MR. ROBINSON
Sow a few wild oats. Take things
as they come. Have a good time
with the girls and so forth.
Mrs. Robinson enters the room. She is now wearing the
dress she wore earlier. Ben starts to get up.
MRS. ROBINSON
Don't get up.
Ben sits.
MR. ROBINSON
I was just telling Ben here he
ought to sow a few wild oats.
Have a good time while he can.
You think that's sound advice?
Mrs. Robinson nods.
MRS. ROBINSON
Yes, I do.
BEN
I've got to go.
He stands. Mr. Robinson stands up with him.
MR. ROBINSON
You have yourself a few flings
this summer. I bet you're
quite a ladies' man.
BEN
Oh no.
MR. ROBINSON
What? You look like the kind
of guy that has to fight them
off.
(to Mrs. Robinson)
Doesn't he look to you like
the kind of guy who has to
fight them off?
MRS. ROBINSON
Yes, he does.
They start out of the sunroom.
40 INT. ROBINSON HALL - NIGHT
MR. ROBINSON
Oh say - Elaine gets down from
Berkeley on Saturday.
BEN
Oh yes.
MR. ROBINSON
Ben - I want you to give her a
call.
BEN
I will.
MR. ROBINSON
Great.
Mr. Robinson opens the front door and Ben goes out.
41 EXT. ROBINSON HOUSE - NIGHT
SHOOTING OVER THE CAR toward the house. Ben comes toward
the car. Mrs. Robinson appears in the doorway; the light
behind her makes it difficult to see her face.
MRS. ROBINSON
Benjamin?
BEN
Yes.
MRS. ROBINSON
Thank you for taking me home.
Ben nods.
MRS. ROBINSON
I'll see you soon, I hope.
Ben continues to walk toward us.
MR. BRADDOCK'S VOICE
Ladies and gentlemen - your
attention, please - for this after-
noon's feature attraction.
CUT TO:
42 EXT. BRADDOCK BACKYARD AND POOL AREA - DAY
The sun shines brightly. Standing and sitting around
the pool are Mr. and Mrs. Braddock, their friends MR.
and MRS. ARNOLD, and the Arnold children, PETER and
LOUISE, who are eight or nine. Watching from across the
fence on one side of the house: the young girl from next
door and her boy friend. Across the fence on the other
side of the house: a quartet of adults, formally dressed
as though for a cocktail party, holding drinks and watch-
ing. One of them holds a baby. The Braddocks, the
Arnolds and their children are dressed in California
Contemporary Sport Style: the adults in styles infinitely
too young for them, the children in styles infinitely too
old for them.
Mr. Braddock stands alone at the end of the pool near the
house. The others are grouped, more or less, at the other
end. Mr. Braddock is hamming it up.
MR. BRADDOCK
Hey, over there -- I mean you!
Your attention please!
Mr. Braddock has moved over by one of the windows of the
house, the window into the kitchen. He speaks quickly -
in a fake sotto voce - towards the window.
MR. BRADDOCK
Are you ready in there, feature
attraction?
BEN'S VOICE
Could I speak to you for a second,
Dad?
But Mr. Braddock has already moved away from the window
and is readdressing his audience.
MR. BRADDOCK
- what was I saying?
MRS. ARNOLD
Feature attraction.
MR. BRADDOCK
Right. Hey - I'm glad to see
you're paying attention. A
feature attraction that will be
one of the most astounding
events ever to take place in
this particular backyard.
They all laugh and some applaud.
MR. BRADDOCK
Now I'm going to ask for a big
round of applause to bring this
boy out here - wait a minute -
let me amend that - to bring
this young man out here - because
today he is twenty-one-years-
old -
MR. ARNOLD
(his hands like
a megaphone)
Let's get on with the show!
MR. BRADDOCK
Just hang on a minute because
I have a few words to say -
MR. ARNOLD
You always do.
They laugh; Mrs. Arnold makes a face at Mr. Arnold as
he grinningly acknowledges the reponse to his snappy
comeback.
BEN'S VOICE
Dad - could we just talk about
this for a second?
MR. BRADDOCK
Twenty-one-years-old, ladies
and gentlemen; four of those
years spent accomplishing some
rather extraordinary things at
one of our nation's leading
seats of learning -
MR. ARNOLD
Bring him out!
PETER AND LOUISE
On with the show! On with the
show!
MR. BRADDOCK
(to the window)
I can't hold them much longer,
Ben. You better get out here.
BEN'S VOICE
I'd like to discuss this.
MR. BRADDOCK
(to his audience)
This boy - I'm sorry - this
young man - is soon to continue
his education as a Frank Halping-
ham Award Scholar - but before
he does -
Mr. Braddock darts back to the window.
MR. BRADDOCK
- before he does -
(to the window)
You're disappointing them, Ben.
You're disappointing them.
BEN'S VOICE
Dad - can you listen -
MR. BRADDOCK
(meaning it)
I'll give you ten seconds.
(back to the
people)
He is going to give us a
practical demonstration of
what I feel safe in saying is
a pretty exciting birthday
present - and it better work
or I'm out over two hundred
bucks - so let's hear it for -
Mr. Braddock moves to the screen door and pushes it open.
It slams against the wall inside.
MR. BRADDOCK
- Benjamin Braddock!
44 INT. BRADDOCK BREAKFAST KITCHEN - SHOT DOWN THE HALL - DAY
At the back of the hall, inside the house, stands Ben,
dressed in a full length skin diver's wet suit, flippers
on his feet, the oxygen tank strapped to his back, the
mask pushed up his forehead, the air hose dangling.
He holds a spear gun in his hand.
The people applaud.
45 EXT BRADDOCK BACKYARD AND POOL AREA - DAY
SHOT - FROM BEN'S POV
The people in the backyard. His father stands just
outside the screen door.
MR. BRADDOCK
Folks - this remarkable young
man is going to perform for you
some spectacular and amazing
feats of daring in water that is
over six feet deep -
Ben's arms come into view and pull the mask down.
We are now looking through the mask as we MOVE FORWARD
down the hall. Everything is slightly distorted through
the glass. Ben's hand comes up again with the breathing
apparatus in it.
SOUND: the rythmic PUMPING of air, obliterating the
SOUND of the people around the pool who seem to be
applauding and chattering noiselessly.
We MOVE out of the door and toward the pool. Mr. Braddock
is running back and forth, clapping his hands and
delivering his now soundless pitch.
We MOVE DOWN the steps and into the shallow end of the
pool. Mr. Braddock is moving along the side of the pool,
motioning toward us to come down to the deep end. He
joins Mr. Arnold at the far end of the pool. They both
begin to motion us toward them.
We get to the deep end of the pool. Mr. Braddock signals
us with his hand to go under. He kneels down by the edge
of the pool and reaches out with his hand and pushes us
under. He has a big smile.
We SURFACE again and PAN AROUND for a last look. The
figures, through the slightly distorted glass of the mask
of Mrs. Arnold and Mrs. Braddock, watching and smiling;
the neighbors on each side of the house, looking over their
fences and laughing and pointing; Mr. Arnold nodding
encouragement and talking; Mr. Braddock on his knees,
smiling and trying to reach out far enough to push us
under. We GO UNDER and SINK to the bottom of the pool.
46 EXT. BRADDOCK BACKYARD AND POOL AREA - DAY
OVERHEAD SHOT (HELICOPTER POV)
Looking down on the pool, on Ben's black suited body at
the bottom and the people standing around the pool, looking
down into it.
PULL UP AND UP AND UP
Until there are thirty houses below us, with its owners,
swimming, playing, eating, cooking, reading, dancing,
sunbathing, constructing and gardening around thirty pools.
SOUND of Ben's BREATHING APPARATUS, fading into the SOUND
of the WIND.
Hold for a few seconds, then:
SOUND of a dime DROPPING into a pay phone and DIALING.
DISSOLVE TO:
47 INT. TAFT HOTEL LOBBY - NIGHT - CLOSEUP - BEN
In a phone booth. The booth is in the entrance area of
the hotel between the lobby and the driveway. Ben holds
the receiver to his ear. SOUND of PHONE RINGING.
MRS. ROBINSON'S VOICE
Hello.
BEN
Mrs. Robinson - I don't quite
know how to put this -
MRS. ROBINSON'S VOICE
Benjamin?
BEN
Look - I was thinking about that
time after the party -
MRS. ROBINSON'S VOICE
Where are you?
BEN
- and I was wondering if I could
buy you a drink or something -
MRS. ROBINSON'S VOICE
Where are you?
BEN
Uh - The Taft Hotel.
MRS. ROBINSON'S VOICE
Did you get a room?
BEN
No. Now I know it's pretty
late and if you'd rather -
MRS. ROBINSON'S VOICE
Give me an hour.
BEN
What?
MRS. ROBINSON'S VOICE
I'll be there in an hour.
SOUND of her HANGING UP. Ben hangs up slowly.
He stands up in the booth, looks around, moves about
uncomfortably for a few moments, removes his jacket and
carrying it folded across his arm in front of him,
leaves the phone booth and crosses to the doors that
lead to the main lobby. As he is about to go in, the
doors open and a group of VERY OLD PEOPLE start coming
out, filling the doorway and moving very slowly, muttering
to each other and helping each other out of the door and
down the steps. Ben holds one of the doors open for them
and stands politely to one side. As they get through,
Ben starts to move inside. At that moment, A DOZEN YOUNG
PEOPLE, dressed as though for a high school dance, push
him to one side and move past him into the lobby. He
moves back against the other door, holding it open and
allowing them to go in first. He smiles politely and they
pay no attention to him at all. He follows them into the
lobby. They move toward the front desk and he moves with
them. One of the boys at the front of the group leans in
and says something to the CLERK behind the desk.
The clerk points across the lobby and says something to
him. There are the SOUNDS of an orchestra PLAYING some-
where. The group of young people passes by the desk
and Ben moves in behind them. He pauses at the desk and
looks apprehensively at the hundreds of pigeon holes against
the wall with the room numbers painted under them and the
keys dangling suggestively.
ROOM CLERK
Can I help you, sir!
BEN
What? Oh - no - I'm just -
He points vaguely in the direction of the other young
people.
ROOM CLERK
Are you here for an affair,
sir?
Terror and disbelief start in Ben's eyes. He looks
helplessly at the clerk.
BEN
What?
ROOM CLERK
The Singleman party, sir?
BEN
Oh - yes. The Singleman party.
ROOM CLERK
It's in the main ballroom.
BEN
Ahh - thank you.
Ben backs off and turns and starts across the lobby.
He puts on his jacket as he goes. He gets to the entrance
to the main ballroom. He pauses at the door, looks in.
What he sees: People dancing, talking, sitting, etc.
He turns back toward te lobby. He stops.
What he sees: The room clerk scross the lobby watching
him.
Ben flashes a huge smile and points in toward the ballroom
as though to express his joy at finding the Singleman
affair inside, then turns back and enters the ballroom.
48 INT. BALLROOM - NIGHT
As Ben steps inside.
VOICE
Hello.
Ben turns. Four people stand in a row. Official greeters,
they are: A MIDDLE-AGED WOMAN, AN OLDER MAN, AN ELDERLY
LADY AND A TWELVE-YEAR-OLD BOY, dressed formally and they
are smiling with great determination.
BEN
Hello.
It is the older lady who has said hello.
MRS. SINGLEMAN
You must be one of the Porters.
She grasps Ben's hand and shakes it.
BEN
No - actually I'm not -
MRS. SINGLEMAN
I'd like you to know my sister,
Miss DeWitte -
MISS DEWITTE, who, from the looks of things, always has
been and always will be, Miss DeWitte, takes Ben's hand.
MISS DeWITTE
How do you do?
BEN
How do you do, Miss DeWitte?
MRS. SINGLEMAN
- and my husband, Mr. Singleman -
Ben finds himself shaking the twelve-year-old boy's
hand.
BEN
(apologetically)
Oh - sorry -
JEFFREY SINGLEMAN
Fine, thank you.
MRS. SINGLEMAN
That's Jeffrey, of course.
Ben switches to Mr. Singleman's hand.
BEN
Of course.
MR. SINGLEMAN
I didn't get your name, sir.
BEN
Benjamin Braddock, sir.
Mrs. Singleman looks at the seating list she has been
holding.
MRS. SINGLEMAN
Braddock - Braddock?
BEN
Yes, but I'm afraid -
MRS. SINGLEMAN
I'll find your table in a moment.
Braddock. Not Braniff? We have
a Braniff.
BEN
No - actually I'm just looking
for a friend.
MRS. SINGLEMAN
I'm afraid I don't understand.
BEN
(backing off)
I'm not with your party - I'm
sorry.
MRS. SINGLEMAN
Hey - I don't get it.
Ben is backing out.
MISS DeWITTE
I've enjoyed meeting you, Mr.
Braniff.
MRS. SINGLEMAN
Angela - please!
Ben backs out of the ballroom.
49 INT. HOTEL LOBBY - NIGHT
Ben crosses the lobby, passing PEOPLE going in and out of
the hotel. He stops at the entrance of the Veranda Room:
50 INT. VERANDA ROOM - NIGHT
This is a large room with a bar and many tables along the
windows that look out over the hotel grounds. It is quite
dark and cool inside and there are no more than a dozen
people seated around.
The CAMERA STAYS at the door as Ben walks into the room
and crosses to the far end where he sits down at the table
by the window.
PUSH IN toward Ben as he sits there. MUZAK is playing.
CUT TO:
51 ANGLE ON BEN
sitting smoking.
CUT TO:
52 NEW ANGLE ON BEN
sitting.
CUT TO:
53 NEW ANGLE ON BEN
sitting drinking.
CUT TO:
54 ANGLE ON BEN
In the door to the lobby in the b.g. is Mrs. Robinson.
She pauses, looks into the room, sees Ben and starts
toward him. Ben is looking out the window. He does
not see her approach.
MRS. ROBINSON
Hello, Benjamin.
BEN
Oh. Hello. Hello.
He rises quickly.
MRS. ROBINSON
May I sit down?
BEN
Of course.
He pulls out a chair, for her.
MRS. ROBINSON
Thank you.
They sit down.
MRS. ROBINSON
How are you?
BEN
Very well. Thank you.
Ben tries to smile then looks out the window, then down
at the center of the table.
MRS. ROBINSON
May I have a drink?
BEN
A drink? Of course.
Ben looks toward a passing WAITER and raises his hand.
The waiter pays no attention. Ben looks back at Mrs.
Robinson apologetically.
BEN
He didn't see me.
MRS. ROBINSON
Waiter!
For a moment, the noise in the room seems to recede. The
waiter stops in his tracks, turns toward them. The waiter
moves to their table. The noise in the room comes back.
The waiter looks at Mrs. Robinson.
MRS. ROBINSON
I will have a martini.
WAITER No. 1
Yes, madam.
The waiter moves away. Ben watches him go.
MRS. ROBINSON
You don't have to be so nervous,
you know.
BEN
Nervous. Well, I am a bit
nervous. I mean it's - it's
pretty hard to be suave when
you're -
He shakes his head.
MRS. ROBINSON
Did you get us a room?
BEN
What?
MRS. ROBINSON
Have you gotten us a room yet?
BEN
I haven't. No.
MRS. ROBINSON
Do you want to?
BEN
Well - I don't. I mean I could.
Or we could just talk.
MRS. ROBINSON
Do you want me to get it?
BEN
You? Oh no. No. I'll get it.
MRS. ROBINSON
Do you want to get it now?
BEN
Now?
MRS. ROBINSON
Yes.
BEN
Well - I don't know.
MRS. ROBINSON
Why don't you get it.
BEN
Why don't I get it? Well -
I will then.
(he stands up)
If you'll excuse me.
Ben walks out of the Veranda Room and into the lobby.
55 INT. HOTEL LOBBY - NIGHT
Ben walks to the front desk and stands there.
ROOM CLERK
Yes sir?
BEN
A room. I'd like a room,
please.
ROOM CLERK
A single room or a double
room?
BEN
A single. Just for myself,
please.
ROOM CLERK
Will you sign the register,
please?
He pushes the card and a pen toward Ben. Ben writes his
name on the card and then stares at it for a moment,
crumples it up and fills out a second card.
ROOM CLERK
Is anything wrong, sir?
BEN
What? No. Nothing.
ROOM CLERK
(taking a key from
behind the counter)
Do you have any luggage, Mister --
(looks at registration
card)
Gladstone?
BEN
Luggage? Yes. Yes. I do.
ROOM CLERK
Where is it?
BEN
What?
ROOM CLERK
Where is your luggage?
BEN
Well it's in the car. It's
out in the car.
ROOM CLERK
Very good, sir. I'll have a
porter bring it in.
BEN
Oh no.
ROOM CLERK
Sir?
BEN
I mean I'd - I'd rather not
go to the trouble of bringing
it all in. I just have a
toothbrush. I can get it my-
self. If that's all right.
ROOM CLERK
Of course.
Ben reaches for the key.
ROOM CLERK
I'll have a porter show you the
room.
BEN
Oh. Well actually, I'd just as
soon find it myself. I just have
the toothbrush to carry up and
I think I can manage it myself.
ROOM CLERK
Whatever you say, sir.
He hands Ben the key.
BEN
Thank you.
56 INT. VERANDA ROOM - NIGHT
Mrs. Robinson sits, patiently and calmly. Her face betrays
absolutely nothing as she stares ahead of her and sips
her martini.
WAITER No. 1
Mrs. Robinson.
She looks up. A waiter is standing next to the table
with a telephone.
MRS. ROBINSON
Yes?
The waiter plugs the phone into the wall socket next to
the table and hands her the receiver.
MRS. ROBINSON
Thank you.
The waiter nods and leaves.
MRS. ROBINSON
(into phone)
Hello.
BEN'S VOICE
Mrs. Robinson?
MRS. ROBINSON
Yes?
BEN'S VOICE
It's Benjamin.
MRS. ROBINSON
Yes?
BEN'S VOICE
Benjamin Braddock.
MRS. ROBINSON
Benjamin -- where are you?
BEN'S VOICE
Can you look through the glass.
Mrs. Robinson turns in her chair and looks through the
glass into the lobby.
57 INT. LOBBY - PHONE BOOTH - NIGHT - WHAT SHE SEES
Ben is in the phone booth in the lobby no more than twenty
feet away.
BEN'S VOICE
Can you see me now?
MRS. ROBINSON
Yes, I can.
58 INT. LOBBY PHONE BOOTH
Over Ben's shoulder, we can see his face reflected in the
glass door and, through it, Mrs. Robinson sitting in
the Veranda Room.
INTERCUT PHONE CONVERSATION
BEN
I got a single room.
MRS. ROBINSON
That's fine.
BEN
But there's one thing. The desk clerk
seemed to be a little bit suspicious.
I mean - I don't know what their policy
is - but -
MRS. ROBINSON
Well - do you want to go up first?
BEN
Yes - I think that would be good.
MRS. ROBINSON
I'll be up in five minutes.
BEN
Well - goodbye then -
MRS. ROBINSON
Benjamin.
BEN
Yes?
MRS. ROBINSON
Isn't there something you want to
tell me?
BEN
To tell you?
MRS. ROBINSON
Yes.
BEN
Well - I want you to know how much
I appreciate this - really -
MRS. ROBINSON
The number.
BEN
What?
MRS. ROBINSON
The room number, Benjamin. I think
you ought to tell me that.
BEN
Oh? You're absolutely right. Absolutely.
It's 512.
MRS. ROBINSON
Thank you.
BEN
You're welcome. Well - I'll see you
later, Mrs. Robinson.
He hangs up.
59 INT. LOBBY - PHONE BOOTH - SHOT - BEN
He leaves the hpone booth and walks back into the main lobby.
60 INT. HOTEL LOBBY - NIGHT
As he passes the desk, on his way to the elevator, he starts
to pat his breast pocket.
BEN
I've got it.
The desk clerk looks up.
BEN
I say I've got it.
CLERK
Sir?
BEN
The toothbrush. I got it all right.
CLERK
Very good, sir.
BEN
Yes. Well - goodnight.
CLERK
Goodnight, sir.
Ben walks out of shot.
60A INT. HOTEL CORRIDOR - NIGHT
Ben leaves elevator, walks down corridor to hotel room and
opens door.
61 INT. HOTEL ROOM - NIGHT
Ben closes the door behind him and leans with his back against
it for a few moments looking at the room. The only light
is that coming in the window. Ben turns on the light switch
on the wall near the door. The room blazes with the light
from three lamps and an overhead fixture. He turns the switch
off. He crosses to the bathroom. Ben steps in and turns on
the light.
61 INT. HOTEL ROOM - NIGHT
Ben steps out, moves to the window. We see the pool area
through the window. Ben closes the blinds.
61Cont.There is a KNOCK on the door. Ben crosses to the door and
opens it. Mrs. Robinson moves to the bureau and puts her
purse and gloves on it. She looks at herself in the
mirror for a moment then turns slowly, looking at the room,
finally ending on Ben's face. She steps toward him.
MRS. ROBINSON
Well?
He clears his throat and then he kisses her.
BEN
Well.
MRS. ROBINSON
Benjamin.
BEN
Yes?
MRS. ROBINSON
I'll get undressed now. Is that all
right?
BEN
Sure. Shall I - I mean shall I just
stand here? I mean - I don't know
what you want me to do.
MRS. ROBINSON
Why don't you watch?
BEN
Oh - sure. Thank you.
She takes off her jacket.
MRS. ROBINSON
Will you bring me a hanger?
BEN
What?
MRS. ROBINSON
A hanger.
Ben opens the closet door.
BEN
Oh - yes. Wood?
MRS. ROBINSON
What?
BEN
Wood or wire? They have both.
MRS. ROBINSON
Either one will be fine.
BEN
Okay.
He brings her a hanger. She puts her jacket on it.
MRS. ROBINSON
Will you help me with this,
please?
She turns her back.
BEN
Certainly.
He undoes the zipper at her neck.
MRS. ROBINSON
Thank you.
BEN
You're welcome.
She turns and looks at him. He backs away.
MRS. ROBINSON
Would this be easier for you
in the dark?
BEN
Mrs. Robinson - I can't do
this.
MRS. ROBINSON
You what?
BEN
This is all terribly wrong.
MRS. ROBINSON
Benjamin - do you find me undesirable?
BEN
Oh no, Mrs. Robinson. I think -
I think you're the most attractive
of all my parents' friends.
I just don't think we could
possibly --
MRS. ROBINSON
Are you afraid of me?
BEN
No - but look - maybe we could
do something else together,
Mrs. Robinson - would you like
to go to a movie.
MRS. ROBINSON
Benjamin, is this your first time?
BEN
Is this - what?
MRS. ROBINSON
It is, isn't it? It is your
first time.
BEN
That's a laugh, Mrs. Robinson.
That's really a laugh. Ha ha.
MRS. ROBINSON
You can admit that, can't you?
BEN
Are you kidding?
MRS. ROBINSON
It's nothing to be ashamed of -
BEN
Wait a minute!
MRS. ROBINSON
On your first time -
BEN
Who said it was my first time.
MRS. ROBINSON
That you're afraid -
BEN
Wait a minute.
MRS. ROBINSON
- of bring - inadequate - I mean
just because you happen to be
inadequate in one way -
BEN
INADEQUATE!
LONG pause.
MRS. ROBINSON
(starting to dress)
BEN
Don't move.
He slams the bathroom door shut. The light in the room
disappears.
FADE OUT
FADE IN
62 EXT. BRADDOCK BACKYARD AND POOL AREA - DAY
The midsummer sun beats down on the Braddock swimming pool
and on Ben who lies on a rubber raft in the middle of the
pool. Ben wears dark glasses, is deeply tanned, and holds
a beer can in one hand.
SOUNDS: teenagers YELLING and swimming in nearby pools;
a radio PLAYING rock and roll; a television set TUNED to
a ball game.
DISSOLVE TO:
63 CLOSER SHOT - BEN
drifting.
DISSOLVE TO:
64 CLOSER ANGLE ON BEN
drifting.
DISSOLVE TO:
65 CLOSE SHOT - BEN
SOUND of the back door CLOSING. Ben opens his eyes and
moves his head slightly.
66 WHAT HE SEES
Mr. Braddock is passionately stoking a barbeque fire. Mrs.
Braddock is going toward him from the house, carrying some
ominously large thing wrapped in tinfoil.
67 SHOT - BEN
He rolls off the raft and swims to the end of the pool. He
climbs out, walks to the back door, takes his shirt from a
chair and starts to put it on as he opens the back door and
goes through.
68 INT. SPECIAL SET - TAFT HOTEL ROOM
Ben has just shut the door to the bathroom behind him. He
is wearing his shirt, buttoned, and no trousers.
PAN WITH BEN as he walks across the room past Mrs. Robinson
who is standing in front of the bureau taking off her brace-
let and watch. He moves to a chair and sits.
He picks up a cigarette from an ashtray on a table next
to the chair. Mrs. Robinson moves in to Ben, kneels in
front of him and starts to unbutton his shirt.
He takes the cigarette out of his mouth.
69 INT. SPECIAL SET - BRADDOCK DEN AND DINING ROOM - NIGHT
SHOT - NEW ANGLE
We now see behind Ben the door that leads from the Braddock
den, in which Ben is sitting. In the dining room, Mr.
and Mrs. Braddock are sitting, having their dinner, looking
through the doorways toward Ben. Ben stands, crosses back
to the door to the den and shuts it.
70 INT. BRADDOCK DEN - NIGHT - REVERSE
On Ben's back as he returns to the chair and sits. A
television set, facing the chair, is on. Ben picks up a
can of beer and drinks from it. An animated cartoon is
playing on the television set. Ben watches it.
71 REVERSE
Ben's face, watching. PUSH IN to CLOSEUP of his face.
72 REVERSE
CLOSEUP of television set and cartoon.
73 REVERSE
Ben watching.
74 REVERSE
CLOSEUP test pattern.
CUT TO:
75 INT. TAFT HOTEL ROOM - NIGHT
CLOSEUP Ben watching. PULL BACK and we are in the Taft
Hotel Room. Ben is sitting on the bed, leaning against
the headboard, watching the television set which is on a
stand facing the bed.
SOUND of the HUM of the test pattern.
PULL BACK to a WIDE SHOT of the room, lit only by the light
from the television set. Mrs. Robinson walks into the shot,
half dressed. She passes between Ben and the television
set and goes out of frame. Ben continues to stare at the set.
SOUND of a ZIPPER being pulled up.
Mrs. Robinson appears again and passes the other way.
SOUND of BRACELETS being put on.
Mrs. Robinson passes back the other way again.
SOUND of CLOTHING being put on and a PURSE being snapped
closed. Mrs. Robinson, now fully dressed and carrying
her purse, passes through again and, without looking at
Ben, goes to the door of the hotel room, opens it and
exits.
76 INT. BENS' ROOM - CLOSEUP - BEN - DAY
SOUND of DOOR closing. Follow Ben as he gets up and moves
to the windows of what is now his BEDROOM in the Braddock
house. He opens the closed blinds over the window. The
sun is bright outside. His bathing suit is on the window
sill. He takes the suit and puts it on. He moves to
the bedroom door, opens it and goes out.
77 OMITTED
78 EXT. BRADDOCK BACKYARD AND POOL AREA - DAY
We see Mrs. Braddock in the kitchen. Ben comes through
the back door, moves to the pool and dives in. The raft
floats in the center of the pool.
79 SHOT - UNDERWATER
Ben swims toward us the length of the pool.
80 SHOT - AT THE WATERLINE
Ben surfaces and, in one movememt, pulls himself up on
the raft and -
CUT TO:
81 INT. TAFT HOTEL ROOM - NIGHT
- lands on top of Mrs. Robinson on the bed. He stays
on top of her for a moment.
MR. BRADDOCK'S VOICE
Ben - what are you doing?
Ben turns toward us and looks.
CUT TO:
82 EXT. BRADDOCK BACKYARD AND POOL AREA - DAY
SHOT - POV OF BEN ON RAFT
Mr. Braddock standing by the side of the pool. The
sun is behind him.
BEN'S VOICE
Well - I would say that I'm
just drifting.
CUT TO:
83 SHOT - BEN ON RAFT
BEN
- here - in the pool.
MR. BRADDOCK
Why?
BEN
Well - it's very comfortable -
just to drift here.
MR. BRADDOCK
Have you thought about graduate
school?
BEN
No.
MR. BRADDOCK
Would you mind telling me then -
what were those four years of
college for? What was the point
of all that hard work?
BEN
You got me.
MR. BRADDOCK
(trying unsuccessfully
to control himself)
Now listen, Ben. I think it's
a very good thing that a young
man - after he's done some very
good work - should have a chance
to relax and enjoy himself, and
lie around, and drink beer and
so on. But after a few weeks
I believe that person would
want to take some stock in him-
self and his situation and start
to think about getting off his
ass.
Mrs. Braddock steps in beside Mr. Braddock.
MRS. BRADDOCK
The Robinson's are here.
Mr. Robinson steps in beside the others. They blot out
the sun.
MR. ROBINSON
Hi, Ben. What are you doing with
yourself these days?
BEN
Oh - not too much. Taking it
easy.
MR. ROBINSON
That's what I'd do if I could.
Nothing wrong with that. Hey
Ben, Elaine's coming down from
Berkeley soon. I want you to
call her up this time.
BEN
I will.
MR. ROBINSON
Because I just think you two
would hit it off real well
together.
Mrs. Robinson steps in beside them. (A long pause)
MRS. BRADDOCK
Say hello to Mrs. Robinson,
Benjamin.
84 SHOT - BEN
BEN
Hello, Mrs. Robinson.
MRS. ROBINSON
Hello, Benjamin.
DISSOLVE TO:
85 INT. BEN'S ROOM - NIGHT
Ben, halfway dressed to go out, in slacks, shirt and tie,
sits in a chair. The door opens and Mrs. Braddock enters.
MRS. BRADDOCK
Can I talk to you a minute?
BEN
Sure.
MRS. BRADDOCK
Benjamin? I'm going to ask you
something but you don't have to
tell me if you don't want.
BEN
What?
MRS. BRADDOCK
Well I'm going to ask you what
you do when you go off at night.
BEN
When I go off?
MRS. BRADDOCK
You don't have to tell me if
you don't want.
BEN
No, I do. I want to tell you.
There is a pause.
BEN
I drive around.
MRS. BRADDOCK
What else?
BEN
Nothing else.
MRS. BRADDOCK
Well you don't drive around from
midnight until noon the next
day, Benjamin.
BEN
Oh, no.
MRS. BRADDOCK
Then what do you do? Do you
meet someone?
BEN
Meet someone?
She nods.
BEN
Why did you say that?
MRS. BRADDOCK
Well this is your business,
Benjamin.
(she starts toward
the door)
If you -
BEN
No wait. Wait.
She stops.
BEN
I don't meet anyone, mother, but
why did you say that?
MRS. BRADDOCK
Benjamin, I'm not going to pry
into your affairs, but I'd
rather you didn't say anything
at all than be dishonest.
Goodnight, Benjamin.
BEN
Well, wait.
She
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