Graduate, The (1967)

by Buck Henry.

Final draft, March 29, 1967.

1	EXT. AMPHITHEATRE - DAY

SHOT - HELICOPTER'S POV -

Moving through clouds.  The clouds separate and, far below, we can

see a giant outdoor amphitheatre.  There is no SOUND but the WIND.

As we move closer to the amphitheatre, we can hear SNATCHES OF WORDS

and PHRASES as though from a public address system.

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

in cap and gown, standing in front of a microphone.  The WIND is

BLOWING.  He has to hold on to the papers from which he is reading.

3	EXT. AMPHITHEATRE - SHOT OF AUDIENCE - DAY

Thousands of expressionless STUDENTS are sitting there.

4	EXT. AMPHITHEATRE - SHOT OF PODIUM - DAY

BEN

- and today it is right that we

should ask ourselves the one most

important question: What is the

purpose of these years, the purpose

for all this demanding work,

the purpose for the sacrifices

made those who love us?  Were

there NOT a purpose, then all of

these past years of struggle, of

fierce competition and of uncom-

promising ambition would be mean-

ingless.  But, of course, there

is a purpose and I must tell it

to you.  I ask you to remember

this purpose always and I pledge

that I shall endeavor to carry it

with me forever.

5	SHOT - AMPHITHEATRE AUDIENCE - DAY

staring at him impassively.

6	INTERCUT BETWEEN SHOTS

of impassive students, seated, watching; of Ben standing

alone on the huge amphitheatre stage; of CLOSEUPS of Ben

speaking; of loudspeakers; of wind-blown papers on the

podium.

7	EXT. PODIUM OF AMPHITHEATRE - DAY

BEN

(continuing)

The purpose, my fellow graduates -

the purpose is -

He stops, trying to think of the word.

8	CLOSEUP - BEN

He begins to sweat.

9	SHOT - AMPHITHEATRE AUDIENCE

watching.

10	SHOT - PODIUM of AMPHITHEATRE

Ben's hands searching through the pages of his speech.

The pages begin to blow away in the wind.

11	SHOT - AMPHITHEATRE AUDIENCE - DAY

staring.

12	SHOT - PODIUM OF AMPHITHEATRE - DAY

BEN

- there is a reason, my friends,

and the reason is -

13	CLOSEUP - BEN

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

14	SHOT - AMPHITHEATRE - DAY

The audience is gone.

15	SHOT - PODIUM OF AMPHITHEATRE - DAY

BEN

- the reason is - the purpose is -

SOUND of the WIND becoming the ROAR of an AIRCRAFT coming at

us through the air.

16	SHOT - AMPHITHEATRE - DAY

Huge and empty.  SOUND of AIRCRAFT.

CAPTAIN'S VOICE

Ladies and gentlemen, we are about

to begin our descent into Los Angeles -

SOUND of a SONIC BOOM.

CUT TO:

17	INT. PLANE - CLOSEUP - BEN - NIGHT

His eyes open suddenly.

CAPTAIN'S VOICE

The sound you have just heard is the

landing gear locking into place.  The

Los Angeles weather is clear and the

temperature is a pleasant 72.  We do

not expect any traffic delay and will

make our four hour and eighteen minute

flight plan smack on the nose.  We

enjoyed having you on board and look

forward to seeing you again in the near

future.

18	SHOT

PULL BACK SLOWLY from a CLOSEUP of a television screen with

snow on it to reveal a long row of television sets along the

ceiling of the aircraft.  There is snow on all of them.

19	REVERSE ANGLE

PULL BACK from the CLOSEUP of Ben to reveal a row of passengers

staring straight ahead, their headsets on.  Ben turns and

looks out the window.

20	EXT. LOS ANGELES - FROM THE AIR - NIGHT

Los Angeles, at night, its lights stretching endlessly in every

direction.

SOUND - MUZAC and the STEWARDESS' LANDING SPEECH.

START OF MAIN TITLES

UNDER titles:

STEWARDESS' VOICE

Ladies and gentlemen please fasten your

seat belts in preparation for the landing

and observe the no smoking sign.  After

we land, you will notice an increase in

the sound level as the thrust of the engines

is reversed to help reduce forward speed.

21	INT. AIRPORT - MOVING SIDEWALK - NIGHT

Ben and the other passengers on the automatic sidewalk.

MAN'S VOICE

Your attention, please!  American Airlines

Flight Number 4, 21 Club service, non-stop

to New York is now leaving from Gate

Number 40.  All aboard, please.

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

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

There are the SOUNDS of many people TALKING and LAUGHING

in other rooms.  A RADIO nearby PLAYS MUSIC.  After a

while, there is the SOUND of a DOOR OPENING.  The SOUNDS

of the people TALKING are lower.  MRS. TERHUNE'S voice

can be heard among them.

MRS. TERHUNE'S VOICE

-- associate editor of the college

newspaper in his junior year -

managing editor in his senior

year -

The SOUND of the DOOR CLOSING.  Mrs. Terhune's VOICE and

the VOICES of the other guests FADE DOWN.  Mrs. Terhune's

VOICE can be HEARD with varying clarity through the

remainder of the sequence.

After a few moments, there is the SOUND of a LIGHT SWITCH

being SNAPPED and light, as though from an overhead fixture,

falls across BEN's face.  He does not move.

After a few moments, there is the SOUND of the RADIO being

SNAPPED OFF.

MR. BRADDOCK'S VOICE

What's the matter?

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

MR. BRADDOCK'S VOICE

The guests are all downstairs,

Ben.  They're all waiting to see you.

BEN

Look, Dad - could you explain to

them that I have to be alone for

a while?

MR. BRADDOCK'S VOICE

These are all our good friends,

Ben.  Most of them have known you

since - well - practically since

you were born.

Ben has not moved.  Now the bed on which he is lying moves

as though someone has sat down upon it next to him.

MR. BRADDOCK'S VOICE

What is it, Ben?

The CAMERA BEGINS TO PULL BACK SLOWLY.

BEN

I'm just -

MR. BRADDOCK

- worried?

BEN

Well -

MR. BRADDOCK

About what?

Ben

I guess - about my future.

MR. BRADDOCK

What about it?

BEN

I don't know.  I want it to be -

MR. BRADDOCK

To be what?

BEN

(quietly)

Different.

As Ben says this, the door to the bedroom opens and

MRS. BRADDOCK looks in.

MRS. BRADDOCK

Is anything wrong?

MR. BRADDOCK

No!  No - we're just on our way

downstairs!

Mr. Braddock gets off the bed and goes to a chair and

picks up Ben's jacket which is lying across it.

MRS. BRADDOCK

The Carlsons' are here.

MR. BRADDOCK

(to Mrs. Braddock)

They are?

(to Ben)

Come on.

Mr. Braddock puts the jacket on Ben.

MRS. BRADDOCK

They came all the way from

Tarzana.

MR. BRADDOCK

It's a wonderful thing to have

so many devoted friends.

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

29	INT. HALLS AND STAIRWAY - NIGHT

PHIL and MIMI CARLSON are coming up the stairs as the

Braddocks are moving down.

MR. CARLSON

Hey - there's our award winning

scholar.

MRS. CARLSON

We're all very proud of you,

Ben.

BEN

Thank you, Mrs. Carlson.

MR. CARLSON

Is that the new car out there?

The little red Wop job?

MR. BRADDOCK

That's Ben's graduation present.

MR. CARLSON

(putting his arm

across Ben's shoulder)

Won't have much trouble picking

them up in that, will you?

BEN

Sir?

MR. CARLSON

The girls.  The chicks.  The -

the teeny boppers.

MRS. CARLSON

I think Ben has gotten beyond

the teeny bopper stage - haven't

you, Ben?

Mrs. Carlson gives Ben a broad wink.  Ben tries to smile

and return the wink politely.

BEN

Yes, ma'am.

They reach the hall at the bottom of the stairs.

BEN

Excuse me - I think I'd just

like to check something on

the car for a minute -

Ben moves to the front door and opens it.  MR. LOOMIS

steps into the house and grabs Ben's hand.

MR. LOOMIS

Here's the track star himself.

How are you, track star?

BEN

Just fine, Mr. Loomis.

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

hall.

MR. LOOMIS

I want to get a drink and then

I want to hear all about that

thing you won.  That Hopperman

award.

BEN

Helpingham.

MR. LOOMIS

Helpingham!  Right!  Now you

wait right here.

Mr. Loomis turns and goes into the dining room.  Ben

moves back to the stairway as THREE LADIES come out of

the living room.  One lady takes Ben's right hand, another

lady his left, the third fingers the front of his jacket.

LADY 1

Ben - we're all so proud of

you.

LADY 2

Proud, proud, proud, proud,

proud.

LADY 3

What are you going to do now?

BEN

I was going to go upstairs for a

minute -

LADY 3

No - I meant with your future.

LADY 2

With your life.

BEN

Well - that's a little hard to say -

MR. MCQUIRE appears behind Ben.

MR. MCQUIRE

Ben!

Ben

(to the ladies)

Excuse me.

(he turns around)

Mr. McQuire

MR. MCQUIRE

(overwhelmed with pride)

Ben.

BEN

Mr. McQuire.

Mr. McQuire takes Ben's arm and steers him down the hall

toward the back of the house and out through the back door.

30	EXT. BRADDOCK BACKYARD AND POOL AREA - NIGHT

The pool is eerily lit.  There are FOUR PEOPLE standing and

TALKING, drinks in their hands, at the back of the yard.

MR. MCQUIRE

Ben - I just want to say one word to

you - just one word -

BEN

Yes, sir.

MR. MCQUIRE

Are you listening?

BEN

Yes I am.

MR. MCQUIRE

(gravely)

Plastics.

They look at each other for a moment.

BEN

Exactly how do you mean?

MR. MCQUIRE

There is a great future in plastics.

Think about it.  Will you think

about it?

BEN

Yes, I will.

MR. MCQUIRE

Okay.  Enough said.  That's a deal.

Mr. McQuire turns and walks back into the house.  The

people at the other end of the yard look toward Ben.

WOMAN #1

Here he is now.  Here's Ben.

BEN

Excuse me just a minute -

Ben goes into the house through the back door.

31	EXT. BRADDOCK BACKYARD AND POOL AREA - NIGHT

We can see through the windows of the house, Ben making his

way through people trying to stop him and speak to him as he

goes through rooms, up the stairs and to his room.

SOUND of a door SLAMMING.

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

Ben stands with his back against the door.  The SOUNDS of the

PARTY downstairs and, as Ben walks across the room to a

window, the SOUND of the WIND.

32A	SHOT - LONG SHOT (Location)

Over Ben to pool area and people below.  SOUND of the door

OPENING.  Ben turns.  MRS. ROBINSON enters the room.

MRS. ROBINSON

Oh.  I guess this isn't the

bathroom, is it?

BEN

It's down the hall.

They stand for a moment, loocking at each other.

MRS. ROBINSON

How are you, Benjamin?

BEN

Fine, thank you.  The bathroom is

down at the end of the hall.

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

of the bed.

BEN

Look, Mrs. Robinson, I don't

mean to be rude but -

Mrs. Robinson takes a cigarette from her purse and

lights it.

MRS. ROBINSON

Is there an ashtray in here?

BEN

No.

MRS. ROBINSON

Oh - I forgot.  The track star

doesn't smoke.

She blows out the match and puts it down carefully on

the bedspread.  Ben picks up a wastebasket, walks over

to the bed, picks up the match and puts it in the

wastebasket.

MRS. ROBINSON

Is it a girl?

BEN

Is what a girl?

MRS. ROBINSON

Whatever it is you're upset

about.

BEN

Oh - no.  I'm just sort of

disturbed about things.

MRS. ROBINSON

In general.

BEN

That's right.

There is a long pause.

MRS. ROBINSON

Benjamin, I want to ask you

something.

BEN

What?

MRS. ROBINSON

Will you take me home?

BEN

What?

MRS. ROBINSON

My husband took the car.  Will

you drive me home?

Ben reaches into his pocket and hands Mrs. Robinson

a set of car keys.

BEN

Here - you take it.

Mrs. Robinson looks at him.

BEN

Do you know how to work a

foreign shift?

Mrs. Robinson shakes her head.

BEN

You don't?

MRS. ROBINSON

No.

(there is a pause)

BEN

Let's go.

She throws the keys to him.  He catches them.

CUT TO:

33	EXT. BRADDOCK HOUSE - NIGHT

SHOOTING THROUGH THE OPEN FRONT DOOR.  Mr. Braddock is

talking to the Terhunes at the door.  Ben and Mrs.

Robinson come down the hall.

BEN

Dad - Mrs. Robinson needs a ride

home.  I'll be right back.

Mr. Braddock pats Ben on the shoulder.  Mrs. Robinson

is walking ahead through the front door.

MRS. ROBINSON

(as she passes the

CAMERA)

Wonderful party.

CUT TO:

34	OMITTED

35	EXT. ROBINSON HOUSE - NIGHT

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

for a moment.

MRS. ROBINSON

Thank you.

BEN

Right.

She doesn't move.  Ben gets out and goes around to her side

and opens the door.

MRS. ROBINSON

Will you come in, please?

BEN

What?

MRS. ROBINSON

I want you to come in till I get

the lights on.

BEN

What for?

MRS. ROBINSON

Because I don't feel safe until

I get the lights on.

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

the door.

36	INT. ROBINSON HALL AND SUNROOM - NIGHT

MRS. ROBINSON

Would you mind walking ahead of

me to the sun porch.  I feel

funny about coming into a dark

house.

BEN

But it's light in there now.

MRS. ROBINSON

Please.

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

MRS. ROBINSON

What do you drink?  Bourbon?

BEN

Look - I drove you home.  I was

glad to do it.  But I have some

things on my mind.  Can you

understand that?

She nods.

BEN

All right then.

MRS. ROBINSON

What do you drink?

He looks at her.

MRS. ROBINSON

Benjamin - I'm sorry to be this

way, but I don't want to be

alone in this house.

BEN

Why not?

MRS. ROBINSON

Please wait till my husband

gets home.

BEN

When is he coming back?

MRS. ROBINSON

I don't know.

She pours herself a drink.

MRS. ROBINSON

Drink?

BEN

No.

She hands him a drink.  There is a pause.

BEN

Are you always this much afraid

of being alone?

MRS. ROBINSON

Yes.

BEN

Well, why can't you just lock

the doors and go to bed?

MRS. ROBINSON

I'm very nuerotic.

She turns on the phonograph.  SOUND of PHONOGRAPH.

MRS. ROBINSON

May I ask you a question?

Ben looks at her.

MRS. ROBINSON

What do you think of me?

BEN

What do you mean?

MRS. ROBINSON

You've known me nearly all of

your life.  You must have

formed some opinion.

BEN

Well - I've always thought

that you were a very - nice -

person.

MRS. ROBINSON

Did you know I was an alcoholic?

BEN

What?

MRS. ROBINSON

Did you know that?

BEN

Look - I think I should be

going -

MRS. ROBINSON

Sit down, Benjamin.

BEN

Mrs. Robinson - if you don't

mind my saying so - this

conversation is getting a

little strange.  Now I'm sure

that Mr. Robinson will be here

any minute and -

MRS. ROBINSON

No.

BEN

What?

MRS. ROBINSON

My husband will be back quite

late.

They look at each other.  Ben is half standing.

MRS. ROBINSON

He should be gone for several

hours.

She takes a step toward him.  He puts his hand up and

retreats around the other side of the chair.

BEN

Oh my God.

MRS. ROBINSON

Pardon?

BEN

Oh no, Mrs. Robinson, oh no.

MRS. ROBINSON

What's wrong?

BEN

Mrs. Robinson, you didn't -

I mean you didn't expect -

MRS. ROBINSON

What?

BEN

I mean - you didn't really

think that I would do something

like that.

MRS. ROBINSON

Like what?

BEN

What do you think?

MRS. ROBINSON

Well I don't know.

BEN

For God's sake, Mrs. Robinson,

here we are, you've got me into

your house.  You give me a

drink.  You put on music, now

you start opening up your

personal life to me and tell

me your husband won't be home

for hours.

MRS. ROBINSON

So?

BEN

Mrs. Robinson - you are trying

to seduce me.

There is a pause.  She looks at him.

BEN

(weaker)

Aren't you?

MRS. ROBINSON

Why no.  I hadn't thought of it.

I feel rather flattered that

you -

BEN

Mrs. Robinson, will you forgive

me for what I just said?

MRS. ROBINSON

It's all right.

BEN

It's not all right, it's the

worst thing I've ever said

to anyone.

MRS. ROBINSON

Sit down.

BEN

Please forgive me.  Because I

like you.  I don't think of you

that way.  But I'm mixed up.

MRS. ROBINSON

All right.  Now finish your drink.

BEN

Mrs. Robinson, it makes me sick

that I said that to you.

MRS. ROBINSON

We'll forget it right now.

Finish your drink.

BEN

What is wrong with me?

MRS. ROBINSON

Have you ever seen Elaine's

portrait?

BEN

Her portrait?

MRS. ROBINSON

Yes.

BEN

No.

MRS. ROBINSON

We had it done last Christmas.

Would you like to see it?

BEN

Very much.

We move with Mrs. Robinson and Ben out of the sunroom,

into the hall, up the stairs and along the hall to

the doorway to Elaine's room.

37	INT. ELAINE'S ROOM - NIGHT

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

BEN

Elaine certainly is an

attractive girl, isn't she?

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

BEN

(looking at the

portrait)

I don't remember her as having

brown eyes.

MRS. ROBINSON

Benjamin?

BEN

Yes?

MRS. ROBINSON

Will you unzip my dress?

He steps back.

MRS. ROBINSON

I think I'll go to bed.

BEN

Oh.  Well, goodnight.

MRS. ROBINSON

Won't you unzip my dress?

BEN

I'd rather not, Mrs. Robinson.

MRS. ROBINSON

If you still think I'm trying

to seduce you -

BEN

No, I don't.  But I just feel

a little funny.

MRS. ROBINSON

Benjamin - you've known me all

your life.

BEN

I know that.  But I'm -

MRS. ROBINSON

Come on.

She turns her back.

MRS. ROBINSON

It's hard for me to reach.

Ben reaches forward and pulls the zipper down.

MRS. ROBINSON

Thank you.

BEN

Right.

Ben walks toward the door.

MRS. ROBINSON

What are you so scared of?

BEN

I'm not scared, Mrs. Robinson.

MRS. ROBINSON

Then why do you keep running

away?

BEN

Because you're going to bed.  I

don't think I should be up here.

Mrs. Robinson lets her dress fall to the floor.

MRS. ROBINSON

Haven't you ever seen anybody

in a slip before?

BEN

Yes, I have -

He looks up at the portrait of Elaine.

BEN

But I just - Look - what if Mr.

Robinson walked in right now?

MRS. ROBINSON

What if he did?

BEN

Well, it would look pretty

funny, wouldn't it?

MRS. ROBINSON

Don't you think he trusts us

together?

BEN

Of course he does.  But he

might get the wrong idea.

Anyone might.

MRS. ROBINSON

I don't see why.  I'm twice as

old as you are.  How could

anyone think -

BEN

But they would!  Don't you see?

MRS. ROBINSON

Benjamin - I'm not trying to

seduce you.  I wish you'd -

BEN

I know that.  But please, Mrs.

Robinson.  This is difficult

for me.

MRS. ROBINSON

Why is it?

BEN

Because I am confused about

things.  I can't tell what

I'm imagining.  I can't tell

what's real.  I can't -

MRS. ROBINSON

Would you like me to seduce you?

BEN

What?

MRS. ROBINSON

Is that what you're trying to

tell me?

BEN

I'm going home now.  I apologize

for what I said.  I hope you can

forget it.  But I'm going home

right now.

Benjamin walks out of the door and down the hall.  The

CAMERA PUSHES with him to the door.  We see the entire

stairway and part of the downstairs hall.  Ben gets to

the stairs and starts down.

MRS. ROBINSON'S VOICE

BENJAMIN?

BEN

Yes.

MRS. ROBINSON'S VOICE

Will you bring up my purse before

you go?

BEN

I have to go now.  I'm sorry.

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

She is holding her dress in front of her.

MRS. ROBINSON

I really don't want to put this

on again.  Won't you bring it

up?

BEN

Where is it?

MRS. ROBINSON

On that chair in the hall.

She walks out of the shot.

BEN

Mrs. Robinson?

MRS. ROBINSON'S VOICE

I'm in the bathroom.

BEN

Well here's the purse.

MRS. ROBINSON'S VOICE

Could you bring it up?

BEN

Well I'll hand it to you.

Ben starts back up the stairs.

BEN

Come to the railing and I'll

hand it up.

MRS. ROBINSON'S VOICE

Benjamin - I am getting pretty

tired of all this suspicion.

Now if you won't do me a simple

favor I don't know what.

Ben appears as he slowly climbs the stairs.

BEN

I'm putting it on the top step.

MRS. ROBINSON'S VOICE

For God's sake, Benjamin, will

you stop acting that way and

bring me the purse?

Ben gets to the top of the stairs, and starts slowly

down the hall.

BEN

I'm putting it here by the door.

MRS. ROBINSON'S VOICE

Will you bring it in to me?

BEN

I'd rather not.

MRS. ROBINSON'S VOICE

All right.  Put it in the room

where we were.

BEN

Right.

38	INT. ELAINE'S ROOM - NIGHT

Ben walks quickly into Elaine's room, crosses to the

bed and puts the purse down.  As he starts to turn

back, he looks up at Elaine's portrait.  There is a

movement reflected in the glass of the portrait.  He

turns quickly.  Mrs. Robinson, naked, is shutting the

door to the bedroom behind her.

BEN

Oh God.

She smiles.

BEN

Let me out.

She turns the lock on the door.

MRS. ROBINSON

Don't be nervous.

BEN

Get away from that door.

MRS. ROBINSON

I want to say something first.

BEN

Jesus Christ!

MRS. ROBINSON

Benjamin - I want you to know

I'm available to you.  If you

won't sleep with me this time -

BEN

Oh my God.

MRS. ROBINSON

If you won't sleep with me this

time, Benjamin, I want you to

know you can call me up any

time you want and we'll make

some kind of arrangement.

BEN

Let me out!

MRS. ROBINSON

Do you understand what I said?

BEN

Yes.  Yes.  Let me out!

MRS. ROBINSON

Because I find you very attractive

and any time -

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

Ben leaps at the door, pushes Mrs. Robinson aside,

struggles with the door, gets the door open, runs into

the hall and down the stairs.

39	INT. SUNROOM - NIGHT

Ben rushes into the sunroom and sits down.  SOUND of

FOOTSTEPS on the driveway outside.  Ben jumps up, gets

the glass he had been drinking from and sits down again.

SOUND of the front door OPENING and CLOSING.

MR. ROBINSON'S VOICE

Is that Ben's car in front?

BEN

(jumping up)

Yes, sir!

FOOTSTEPS approach the sunroom.  MR. ROBINSON enters.

BEN

I drove - I drove Mrs. Robinson

home.  She wanted me to drive

her home so I - I drove her home.

MR. ROBINSON

Swell.  I appreciate it.

BEN

She's upstairs.  She wanted me

to wait down here till you got

home.

MR. ROBINSON

Standing guard over the old

castle, are you?

BEN

Yes, sir.

Mr. Robinson reaches for Ben's glass.

MR. ROBINSON

Here.  It looks like you need

a refill.

BEN

Oh no.

MR. ROBINSON

What?

BEN

I've got to go.

MR. ROBINSON

Is anything wrong?  You look

a little shaken up.

BEN

No.  No - I'm just - I'm just

a little worried about my

future.  I'm a little upset

about my future.

Mr. Robinson takes the glass from him.

MR. ROBINSON

Come on.  Let's have a nightcap

together.

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

Ben takes several deep breaths, straightens his tie

and checks to see if his fly is okay.  Mr. Robinson

turns and brings him the drink.

BEN

Thank you very much, sir.

MR. ROBINSON

Ben - how old are you now?

BEN

Twenty.  I'll be twenty-one

next week.

MR. ROBINSON

(taking out a

cigarette)

That's a hell of a good age

to be.

BEN

Thank you.

MR. ROBINSON

I wish I was that age again.

Because, Ben -

BEN

Sir?

MR. ROBINSON

You'll never be young again.

BEN

I know.

MR. ROBINSON

Ben, can I say something to

you?

BEN

What?

MR. ROBINSON

How long have we known each

other now?

Ben shakes his head.

MR. ROBINSON

How long have you and I known

each other?  How long have

your Dad and I been partners?

BEN

Quite a while.

MR. ROBINSON

I've watched you grow up, Ben.

BEN

Yes, sir.

MR. ROBINSON

In many ways I feel as though

you were my own son.

BEN

Thank you.

MR. ROBINSON

So I hope you won't mind my

giving you a friendly piece

of advice.

BEN

I'd like to hear it.

MR. ROBINSON

Ben - I think - I think you

ought to be taking it a little

easier right now than you seem

to.

Ben nods.

MR. ROBINSON

Sow a few wild oats.  Take things

as they come.  Have a good time

with the girls and so forth.

Mrs. Robinson enters the room.  She is now wearing the

dress she wore earlier.  Ben starts to get up.

MRS. ROBINSON

Don't get up.

Ben sits.

MR. ROBINSON

I was just telling Ben here he

ought to sow a few wild oats.

Have a good time while he can.

You think that's sound advice?

Mrs. Robinson nods.

MRS. ROBINSON

Yes, I do.

BEN

I've got to go.

He stands.  Mr. Robinson stands up with him.

MR. ROBINSON

You have yourself a few flings

this summer.  I bet you're

quite a ladies' man.

BEN

Oh no.

MR. ROBINSON

What?  You look like the kind

of guy that has to fight them

off.

(to Mrs. Robinson)

Doesn't he look to you like

the kind of guy who has to

fight them off?

MRS. ROBINSON

Yes, he does.

They start out of the sunroom.

40	INT. ROBINSON HALL - NIGHT

MR. ROBINSON

Oh say - Elaine gets down from

Berkeley on Saturday.

BEN

Oh yes.

MR. ROBINSON

Ben - I want you to give her a

call.

BEN

I will.

MR. ROBINSON

Great.

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

41	EXT. ROBINSON HOUSE - NIGHT

SHOOTING OVER THE CAR toward the house.  Ben comes toward

the car.  Mrs. Robinson appears in the doorway; the light

behind her makes it difficult to see her face.

MRS. ROBINSON

Benjamin?

BEN

Yes.

MRS. ROBINSON

Thank you for taking me home.

Ben nods.

MRS. ROBINSON

I'll see you soon, I hope.

Ben continues to walk toward us.

MR. BRADDOCK'S VOICE

Ladies and gentlemen - your

attention, please - for this after-

noon's feature attraction.

CUT TO:

42	EXT. BRADDOCK BACKYARD AND POOL AREA - DAY

The sun shines brightly.  Standing and sitting around

the pool are Mr. and Mrs. Braddock, their friends MR.

and MRS. ARNOLD, and the Arnold children, PETER and

LOUISE, who are eight or nine.  Watching from across the

fence on one side of the house: the young girl from next

door and her boy friend.  Across the fence on the other

side of the house: a quartet of adults, formally dressed

as though for a cocktail party, holding drinks and watch-

ing.  One of them holds a baby.  The Braddocks, the

Arnolds and their children are dressed in California

Contemporary Sport Style: the adults in styles infinitely

too young for them, the children in styles infinitely too

old for them.

Mr. Braddock stands alone at the end of the pool near the

house.  The others are grouped, more or less, at the other

end.  Mr. Braddock is hamming it up.

MR. BRADDOCK

Hey, over there -- I mean you!

Your attention please!

Mr. Braddock has moved over by one of the windows of the

house, the window into the kitchen.  He speaks quickly -

in a fake sotto voce - towards the window.

MR. BRADDOCK

Are you ready in there, feature

attraction?

BEN'S VOICE

Could I speak to you for a second,

Dad?

But Mr. Braddock has already moved away from the window

and is readdressing his audience.

MR. BRADDOCK

- what was I saying?

MRS. ARNOLD

Feature attraction.

MR. BRADDOCK

Right.  Hey - I'm glad to see

you're paying attention.  A

feature attraction that will be

one of the most astounding

events ever to take place in

this particular backyard.

They all laugh and some applaud.

MR. BRADDOCK

Now I'm going to ask for a big

round of applause to bring this

boy out here - wait a minute -

let me amend that - to bring

this young man out here - because

today he is twenty-one-years-

old -

MR. ARNOLD

(his hands like

a megaphone)

Let's get on with the show!

MR. BRADDOCK

Just hang on a minute because

I have a few words to say -

MR. ARNOLD

You always do.

They laugh; Mrs. Arnold makes a face at Mr. Arnold as

he grinningly acknowledges the reponse to his snappy

comeback.

BEN'S VOICE

Dad - could we just talk about

this for a second?

MR. BRADDOCK

Twenty-one-years-old, ladies

and gentlemen; four of those

years spent accomplishing some

rather extraordinary things at

one of our nation's leading

seats of learning -

MR. ARNOLD

Bring him out!

PETER AND LOUISE

On with the show!  On with the

show!

MR. BRADDOCK

(to the window)

I can't hold them much longer,

Ben.  You better get out here.

BEN'S VOICE

I'd like to discuss this.

MR. BRADDOCK

(to his audience)

This boy - I'm sorry - this

young man - is soon to continue

his education as a Frank Halping-

ham Award Scholar - but before

he does -

Mr. Braddock darts back to the window.

MR. BRADDOCK

- before he does -

(to the window)

You're disappointing them, Ben.

You're disappointing them.

BEN'S VOICE

Dad - can you listen -

MR. BRADDOCK

(meaning it)

I'll give you ten seconds.

(back to the

people)

He is going to give us a

practical demonstration of

what I feel safe in saying is

a pretty exciting birthday

present - and it better work

or I'm out over two hundred

bucks - so let's hear it for -

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

It slams against the wall inside.

MR. BRADDOCK

- Benjamin Braddock!

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

At the back of the hall, inside the house, stands Ben,

dressed in a full length skin diver's wet suit, flippers

on his feet, the oxygen tank strapped to his back, the

mask pushed up his forehead, the air hose dangling.

He holds a spear gun in his hand.

The people applaud.

45	EXT BRADDOCK BACKYARD AND POOL AREA - DAY

SHOT - FROM BEN'S POV

The people in the backyard.  His father stands just

outside the screen door.

MR. BRADDOCK

Folks - this remarkable young

man is going to perform for you

some spectacular and amazing

feats of daring in water that is

over six feet deep -

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

We are now looking through the mask as we MOVE FORWARD

down the hall.  Everything is slightly distorted through

the glass.  Ben's hand comes up again with the breathing

apparatus in it.

SOUND: the rythmic PUMPING of air, obliterating the

SOUND of the people around the pool who seem to be

applauding and chattering noiselessly.

We MOVE out of the door and toward the pool.  Mr. Braddock

is running back and forth, clapping his hands and

delivering his now soundless pitch.

We MOVE DOWN the steps and into the shallow end of the

pool.  Mr. Braddock is moving along the side of the pool,

motioning toward us to come down to the deep end.  He

joins Mr. Arnold at the far end of the pool.  They both

begin to motion us toward them.

We get to the deep end of the pool.  Mr. Braddock signals

us with his hand to go under.  He kneels down by the edge

of the pool and reaches out with his hand and pushes us

under.  He has a big smile.

We SURFACE again and PAN AROUND for a last look.  The

figures, through the slightly distorted glass of the mask

of Mrs. Arnold and Mrs. Braddock, watching and smiling;

the neighbors on each side of the house, looking over their

fences and laughing and pointing; Mr. Arnold nodding

encouragement and talking; Mr. Braddock on his knees,

smiling and trying to reach out far enough to push us

under.  We GO UNDER and SINK to the bottom of the pool.

46	EXT. BRADDOCK BACKYARD AND POOL AREA - DAY

OVERHEAD SHOT (HELICOPTER POV)

Looking down on the pool, on Ben's black suited body at

the bottom and the people standing around the pool, looking

down into it.

PULL UP AND UP AND UP

Until there are thirty houses below us, with its owners,

swimming, playing, eating, cooking, reading, dancing,

sunbathing, constructing and gardening around thirty pools.

SOUND of Ben's BREATHING APPARATUS, fading into the SOUND

of the WIND.

Hold for a few seconds, then:

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

DISSOLVE TO:

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

In a phone booth.  The booth is in the entrance area of

the hotel between the lobby and the driveway.  Ben holds

the receiver to his ear.  SOUND of PHONE RINGING.

MRS. ROBINSON'S VOICE

Hello.

BEN

Mrs. Robinson - I don't quite

know how to put this -

MRS. ROBINSON'S VOICE

Benjamin?

BEN

Look - I was thinking about that

time after the party -

MRS. ROBINSON'S VOICE

Where are you?

BEN

- and I was wondering if I could

buy you a drink or something -

MRS. ROBINSON'S VOICE

Where are you?

BEN

Uh - The Taft Hotel.

MRS. ROBINSON'S VOICE

Did you get a room?

BEN

No.  Now I know it's pretty

late and if you'd rather -

MRS. ROBINSON'S VOICE

Give me an hour.

BEN

What?

MRS. ROBINSON'S VOICE

I'll be there in an hour.

SOUND of her HANGING UP.  Ben hangs up slowly.

He stands up in the booth, looks around, moves about

uncomfortably for a few moments, removes his jacket and

carrying it folded across his arm in front of him,

leaves the phone booth and crosses to the doors that

lead to the main lobby.  As he is about to go in, the

doors open and a group of VERY OLD PEOPLE start coming

out, filling the doorway and moving very slowly, muttering

to each other and helping each other out of the door and

down the steps.  Ben holds one of the doors open for them

and stands politely to one side.  As they get through,

Ben starts to move inside.  At that moment, A DOZEN YOUNG

PEOPLE, dressed as though for a high school dance, push

him to one side and move past him into the lobby.  He

moves back against the other door, holding it open and

allowing them to go in first.  He smiles politely and they

pay no attention to him at all.  He follows them into the

lobby.  They move toward the front desk and he moves with

them.  One of the boys at the front of the group leans in

and says something to the CLERK behind the desk.

The clerk points across the lobby and says something to

him.  There are the SOUNDS of an orchestra PLAYING some-

where.  The group of young people passes by the desk

and Ben moves in behind them.  He pauses at the desk and

looks apprehensively at the hundreds of pigeon holes against

the wall with the room numbers painted under them and the

keys dangling suggestively.

ROOM CLERK

Can I help you, sir!

BEN

What?  Oh - no - I'm just -

He points vaguely in the direction of the other young

people.

ROOM CLERK

Are you here for an affair,

sir?

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

helplessly at the clerk.

BEN

What?

ROOM CLERK

The Singleman party, sir?

BEN

Oh - yes.  The Singleman party.

ROOM CLERK

It's in the main ballroom.

BEN

Ahh - thank you.

Ben backs off and turns and starts across the lobby.

He puts on his jacket as he goes.  He gets to the entrance

to the main ballroom.  He pauses at the door, looks in.

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

He turns back toward te lobby.  He stops.

What he sees:  The room clerk scross the lobby watching

him.

Ben flashes a huge smile and points in toward the ballroom

as though to express his joy at finding the Singleman

affair inside, then turns back and enters the ballroom.

48	INT. BALLROOM - NIGHT

As Ben steps inside.

VOICE

Hello.

Ben turns.  Four people stand in a row.  Official greeters,

they are:  A MIDDLE-AGED WOMAN, AN OLDER MAN, AN ELDERLY

LADY AND A TWELVE-YEAR-OLD BOY, dressed formally and they

are smiling with great determination.

BEN

Hello.

It is the older lady who has said hello.

MRS. SINGLEMAN

You must be one of the Porters.

She grasps Ben's hand and shakes it.

BEN

No - actually I'm not -

MRS. SINGLEMAN

I'd like you to know my sister,

Miss DeWitte -

MISS DEWITTE, who, from the looks of things, always has

been and always will be, Miss DeWitte, takes Ben's hand.

MISS DeWITTE

How do you do?

BEN

How do you do, Miss DeWitte?

MRS. SINGLEMAN

- and my husband, Mr. Singleman -

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

hand.

BEN

(apologetically)

Oh - sorry -

JEFFREY SINGLEMAN

Fine, thank you.

MRS. SINGLEMAN

That's Jeffrey, of course.

Ben switches to Mr. Singleman's hand.

BEN

Of course.

MR. SINGLEMAN

I didn't get your name, sir.

BEN

Benjamin Braddock, sir.

Mrs. Singleman looks at the seating list she has been

holding.

MRS. SINGLEMAN

Braddock - Braddock?

BEN

Yes, but I'm afraid -

MRS. SINGLEMAN

I'll find your table in a moment.

Braddock.  Not Braniff?  We have

a Braniff.

BEN

No - actually I'm just looking

for a friend.

MRS. SINGLEMAN

I'm afraid I don't understand.

BEN

(backing off)

I'm not with your party - I'm

sorry.

MRS. SINGLEMAN

Hey - I don't get it.

Ben is backing out.

MISS DeWITTE

I've enjoyed meeting you, Mr.

Braniff.

MRS. SINGLEMAN

Angela - please!

Ben backs out of the ballroom.

49	INT. HOTEL LOBBY - NIGHT

Ben crosses the lobby, passing PEOPLE going in and out of

the hotel.  He stops at the entrance of the Veranda Room:

50	INT. VERANDA ROOM - NIGHT

This is a large room with a bar and many tables along the

windows that look out over the hotel grounds.  It is quite

dark and cool inside and there are no more than a dozen

people seated around.

The CAMERA STAYS at the door as Ben walks into the room

and crosses to the far end where he sits down at the table

by the window.

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

CUT TO:

51	ANGLE ON BEN

sitting smoking.

CUT TO:

52	NEW ANGLE ON BEN

sitting.

CUT TO:

53	NEW ANGLE ON BEN

sitting drinking.

CUT TO:

54	ANGLE ON BEN

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

She pauses, looks into the room, sees Ben and starts

toward him.  Ben is looking out the window.  He does

not see her approach.

MRS. ROBINSON

Hello, Benjamin.

BEN

Oh.  Hello.  Hello.

He rises quickly.

MRS. ROBINSON

May I sit down?

BEN

Of course.

He pulls out a chair, for her.

MRS. ROBINSON

Thank you.

They sit down.

MRS. ROBINSON

How are you?

BEN

Very well.  Thank you.

Ben tries to smile then looks out the window, then down

at the center of the table.

MRS. ROBINSON

May I have a drink?

BEN

A drink?  Of course.

Ben looks toward a passing WAITER and raises his hand.

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

Robinson apologetically.

BEN

He didn't see me.

MRS. ROBINSON

Waiter!

For a moment, the noise in the room seems to recede.  The

waiter stops in his tracks, turns toward them.  The waiter

moves to their table.  The noise in the room comes back.

The waiter looks at Mrs. Robinson.

MRS. ROBINSON

I will have a martini.

WAITER No. 1

Yes, madam.

The waiter moves away.  Ben watches him go.

MRS. ROBINSON

You don't have to be so nervous,

you know.

BEN

Nervous.  Well, I am a bit

nervous.  I mean it's - it's

pretty hard to be suave when

you're -

He shakes his head.

MRS. ROBINSON

Did you get us a room?

BEN

What?

MRS. ROBINSON

Have you gotten us a room yet?

BEN

I haven't.  No.

MRS. ROBINSON

Do you want to?

BEN

Well - I don't.  I mean I could.

Or we could just talk.

MRS. ROBINSON

Do you want me to get it?

BEN

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

MRS. ROBINSON

Do you want to get it now?

BEN

Now?

MRS. ROBINSON

Yes.

BEN

Well - I don't know.

MRS. ROBINSON

Why don't you get it.

BEN

Why don't I get it?  Well -

I will then.

(he stands up)

If you'll excuse me.

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

55	INT. HOTEL LOBBY - NIGHT

Ben walks to the front desk and stands there.

ROOM CLERK

Yes sir?

BEN

A room.  I'd like a room,

please.

ROOM CLERK

A single room or a double

room?

BEN

A single.  Just for myself,

please.

ROOM CLERK

Will you sign the register,

please?

He pushes the card and a pen toward Ben.  Ben writes his

name on the card and then stares at it for a moment,

crumples it up and fills out a second card.

ROOM CLERK

Is anything wrong, sir?

BEN

What?  No.  Nothing.

ROOM CLERK

(taking a key from

behind the counter)

Do you have any luggage, Mister --

(looks at registration

card)

Gladstone?

BEN

Luggage?  Yes.  Yes.  I do.

ROOM CLERK

Where is it?

BEN

What?

ROOM CLERK

Where is your luggage?

BEN

Well it's in the car.  It's

out in the car.

ROOM CLERK

Very good, sir.  I'll have a

porter bring it in.

BEN

Oh no.

ROOM CLERK

Sir?

BEN

I mean I'd - I'd rather not

go to the trouble of bringing

it all in.  I just have a

toothbrush.  I can get it my-

self.  If that's all right.

ROOM CLERK

Of course.

Ben reaches for the key.

ROOM CLERK

I'll have a porter show you the

room.

BEN

Oh.  Well actually, I'd just as

soon find it myself.  I just have

the toothbrush to carry up and

I think I can manage it myself.

ROOM CLERK

Whatever you say, sir.

He hands Ben the key.

BEN

Thank you.

56	INT. VERANDA ROOM - NIGHT

Mrs. Robinson sits, patiently and calmly.  Her face betrays

absolutely nothing as she stares ahead of her and sips

her martini.

WAITER No. 1

Mrs. Robinson.

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

with a telephone.

MRS. ROBINSON

Yes?

The waiter plugs the phone into the wall socket next to

the table and hands her the receiver.

MRS. ROBINSON

Thank you.

The waiter nods and leaves.

MRS. ROBINSON

(into phone)

Hello.

BEN'S VOICE

Mrs. Robinson?

MRS. ROBINSON

Yes?

BEN'S VOICE

It's Benjamin.

MRS. ROBINSON

Yes?

BEN'S VOICE

Benjamin Braddock.

MRS. ROBINSON

Benjamin -- where are you?

BEN'S VOICE

Can you look through the glass.

Mrs. Robinson turns in her chair and looks through the

glass into the lobby.

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

Ben is in the phone booth in the lobby no more than twenty

feet away.

BEN'S VOICE

Can you see me now?

MRS. ROBINSON

Yes, I can.

58	INT. LOBBY PHONE BOOTH

Over Ben's shoulder, we can see his face reflected in the

glass door and, through it, Mrs. Robinson sitting in

the Veranda Room.

INTERCUT PHONE CONVERSATION

BEN

I got a single room.

MRS. ROBINSON

That's fine.

BEN

But there's one thing.  The desk clerk

seemed to be a little bit suspicious.

I mean - I don't know what their policy

is - but -

MRS. ROBINSON

Well - do you want to go up first?

BEN

Yes - I think that would be good.

MRS. ROBINSON

I'll be up in five minutes.

BEN

Well - goodbye then -

MRS. ROBINSON

Benjamin.

BEN

Yes?

MRS. ROBINSON

Isn't there something you want to

tell me?

BEN

To tell you?

MRS. ROBINSON

Yes.

BEN

Well - I want you to know how much

I appreciate this - really -

MRS. ROBINSON

The number.

BEN

What?

MRS. ROBINSON

The room number, Benjamin.  I think

you ought to tell me that.

BEN

Oh?  You're absolutely right.  Absolutely.

It's 512.

MRS. ROBINSON

Thank you.

BEN

You're welcome.  Well - I'll see you

later, Mrs. Robinson.

He hangs up.

59	INT. LOBBY - PHONE BOOTH - SHOT - BEN

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

60	INT. HOTEL LOBBY - NIGHT

As he passes the desk, on his way to the elevator, he starts

to pat his breast pocket.

BEN

I've got it.

The desk clerk looks up.

BEN

I say I've got it.

CLERK

Sir?

BEN

The toothbrush.  I got it all right.

CLERK

Very good, sir.

BEN

Yes.  Well - goodnight.

CLERK

Goodnight, sir.

Ben walks out of shot.

60A	INT. HOTEL CORRIDOR - NIGHT

Ben leaves elevator, walks down corridor to hotel room and

opens door.

61	INT. HOTEL ROOM - NIGHT

Ben closes the door behind him and leans with his back against

it for a few moments looking at the room.  The only light

is that coming in the window.  Ben turns on the light switch

on the wall near the door.  The room blazes with the light

from three lamps and an overhead fixture.  He turns the switch

off.  He crosses to the bathroom.  Ben steps in and turns on

the light.

61	INT. HOTEL ROOM - NIGHT

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

through the window.  Ben closes the blinds.

61Cont.There is a KNOCK on the door.  Ben crosses to the door and

opens it.  Mrs. Robinson moves to the bureau and puts her

purse and gloves on it.  She looks at herself in the

mirror for a moment then turns slowly, looking at the room,

finally ending on Ben's face.  She steps toward him.

MRS. ROBINSON

Well?

He clears his throat and then he kisses her.

BEN

Well.

MRS. ROBINSON

Benjamin.

BEN

Yes?

MRS. ROBINSON

I'll get undressed now.  Is that all

right?

BEN

Sure.  Shall I - I mean shall I just

stand here?  I mean - I don't know

what you want me to do.

MRS. ROBINSON

Why don't you watch?

BEN

Oh - sure.  Thank you.

She takes off her jacket.

MRS. ROBINSON

Will you bring me a hanger?

BEN

What?

MRS. ROBINSON

A hanger.

Ben opens the closet door.

BEN

Oh - yes.  Wood?

MRS. ROBINSON

What?

BEN

Wood or wire?  They have both.

MRS. ROBINSON

Either one will be fine.

BEN

Okay.

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

MRS. ROBINSON

Will you help me with this,

please?

She turns her back.

BEN

Certainly.

He undoes the zipper at her neck.

MRS. ROBINSON

Thank you.

BEN

You're welcome.

She turns and looks at him.  He backs away.

MRS. ROBINSON

Would this be easier for you

in the dark?

BEN

Mrs. Robinson - I can't do

this.

MRS. ROBINSON

You what?

BEN

This is all terribly wrong.

MRS. ROBINSON

Benjamin - do you find me undesirable?

BEN

Oh no, Mrs. Robinson.  I think -

I think you're the most attractive

of all my parents' friends.

I just don't think we could

possibly --

MRS. ROBINSON

Are you afraid of me?

BEN

No - but look - maybe we could

do something else together,

Mrs. Robinson - would you like

to go to a movie.

MRS. ROBINSON

Benjamin, is this your first time?

BEN

Is this - what?

MRS. ROBINSON

It is, isn't it?  It is your

first time.

BEN

That's a laugh, Mrs. Robinson.

That's really a laugh.  Ha ha.

MRS. ROBINSON

You can admit that, can't you?

BEN

Are you kidding?

MRS. ROBINSON

It's nothing to be ashamed of -

BEN

Wait a minute!

MRS. ROBINSON

On your first time -

BEN

Who said it was my first time.

MRS. ROBINSON

That you're afraid -

BEN

Wait a minute.

MRS. ROBINSON

- of bring - inadequate -  I mean

just because you happen to be

inadequate in one way -

BEN

INADEQUATE!

LONG pause.

MRS. ROBINSON

(starting to dress)

BEN

Don't move.

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

disappears.

FADE OUT

FADE IN

62	EXT. BRADDOCK BACKYARD AND POOL AREA - DAY

The midsummer sun beats down on the Braddock swimming pool

and on Ben who lies on a rubber raft in the middle of the

pool.  Ben wears dark glasses, is deeply tanned, and holds

a beer can in one hand.

SOUNDS:  teenagers YELLING and swimming in nearby pools;

a radio PLAYING rock and roll; a television set TUNED to

a ball game.

DISSOLVE TO:

63	CLOSER SHOT - BEN

drifting.

DISSOLVE TO:

64	CLOSER ANGLE ON BEN

drifting.

DISSOLVE TO:

65	CLOSE SHOT - BEN

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

moves his head slightly.

66	WHAT HE SEES

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

Braddock is going toward him from the house, carrying some

ominously large thing wrapped in tinfoil.

67	SHOT - BEN

He rolls off the raft and swims to the end of the pool.  He

climbs out, walks to the back door, takes his shirt from a

chair and starts to put it on as he opens the back door and

goes through.

68	INT. SPECIAL SET - TAFT HOTEL ROOM

Ben has just shut the door to the bathroom behind him.  He

is wearing his shirt, buttoned, and no trousers.

PAN WITH BEN as he walks across the room past Mrs. Robinson

who is standing in front of the bureau taking off her brace-

let and watch.  He moves to a chair and sits.

He picks up a cigarette from an ashtray on a table next

to the chair.  Mrs. Robinson moves in to Ben, kneels in

front of him and starts to unbutton his shirt.

He takes the cigarette out of his mouth.

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

SHOT - NEW ANGLE

We now see behind Ben the door that leads from the Braddock

den, in which Ben is sitting.  In the dining room, Mr.

and Mrs. Braddock are sitting, having their dinner, looking

through the doorways toward Ben.  Ben stands, crosses back

to the door to the den and shuts it.

70	INT. BRADDOCK DEN - NIGHT - REVERSE

On Ben's back as he returns to the chair and sits.  A

television set, facing the chair, is on.  Ben picks up a

can of beer and drinks from it.  An animated cartoon is

playing on the television set.  Ben watches it.

71	REVERSE

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

72	REVERSE

CLOSEUP of television set and cartoon.

73	REVERSE

Ben watching.

74	REVERSE

CLOSEUP test pattern.

CUT TO:

75	INT. TAFT HOTEL ROOM - NIGHT

CLOSEUP Ben watching.  PULL BACK and we are in the Taft

Hotel Room.  Ben is sitting on the bed, leaning against

the headboard, watching the television set which is on a

stand facing the bed.

SOUND of the HUM of the test pattern.

PULL BACK to a WIDE SHOT of the room, lit only by the light

from the television set.  Mrs. Robinson walks into the shot,

half dressed.  She passes between Ben and the television

set and goes out of frame.  Ben continues to stare at the set.

SOUND of a ZIPPER being pulled up.

Mrs. Robinson appears again and passes the other way.

SOUND of BRACELETS being put on.

Mrs. Robinson passes back the other way again.

SOUND of CLOTHING being put on and a PURSE being snapped

closed.  Mrs. Robinson, now fully dressed and carrying

her purse, passes through again and, without looking at

Ben, goes to the door of the hotel room, opens it and

exits.

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

SOUND of DOOR closing.  Follow Ben as he gets up and moves

to the windows of what is now his BEDROOM in the Braddock

house.  He opens the closed blinds over the window.  The

sun is bright outside.  His bathing suit is on the window

sill.  He takes the suit and puts it on.  He moves to

the bedroom door, opens it and goes out.

77	OMITTED

78	EXT. BRADDOCK BACKYARD AND POOL AREA - DAY

We see Mrs. Braddock in the kitchen.  Ben comes through

the back door, moves to the pool and dives in.  The raft

floats in the center of the pool.

79	SHOT - UNDERWATER

Ben swims toward us the length of the pool.

80	SHOT - AT THE WATERLINE

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

the raft and -

CUT TO:

81	INT. TAFT HOTEL ROOM - NIGHT

- lands on top of Mrs. Robinson on the bed.  He stays

on top of her for a moment.

MR. BRADDOCK'S VOICE

Ben - what are you doing?

Ben turns toward us and looks.

CUT TO:

82	EXT. BRADDOCK BACKYARD AND POOL AREA - DAY

SHOT - POV OF BEN ON RAFT

Mr. Braddock standing by the side of the pool.  The

sun is behind him.

BEN'S VOICE

Well - I would say that I'm

just drifting.

CUT TO:

83	SHOT - BEN ON RAFT

BEN

- here - in the pool.

MR. BRADDOCK

Why?

BEN

Well - it's very comfortable -

just to drift here.

MR. BRADDOCK

Have you thought about graduate

school?

BEN

No.

MR. BRADDOCK

Would you  mind telling me then -

what were those four years of

college for?  What was the point

of all that hard work?

BEN

You got me.

MR. BRADDOCK

(trying unsuccessfully

to control himself)

Now listen, Ben.  I think it's

a very good thing that a young

man - after he's done some very

good work - should have a chance

to relax and enjoy himself, and

lie around, and drink beer and

so on.  But after a few weeks

I believe that person would

want to take some stock in him-

self and his situation and start

to think about getting off his

ass.

Mrs. Braddock steps in beside Mr. Braddock.

MRS. BRADDOCK

The Robinson's are here.

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

the sun.

MR. ROBINSON

Hi, Ben.  What are you doing with

yourself these days?

BEN

Oh - not too much.  Taking it

easy.

MR. ROBINSON

That's what I'd do if I could.

Nothing wrong with that.  Hey

Ben, Elaine's coming down from

Berkeley soon.  I want you to

call her up this time.

BEN

I will.

MR. ROBINSON

Because I just think you two

would hit it off real well

together.

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

MRS. BRADDOCK

Say hello to Mrs. Robinson,

Benjamin.

84	SHOT - BEN

BEN

Hello, Mrs. Robinson.

MRS. ROBINSON

Hello, Benjamin.

DISSOLVE TO:

85	INT. BEN'S ROOM - NIGHT

Ben, halfway dressed to go out, in slacks, shirt and tie,

sits in a chair.  The door opens and Mrs. Braddock enters.

MRS. BRADDOCK

Can I talk to you a minute?

BEN

Sure.

MRS. BRADDOCK

Benjamin?  I'm going to ask you

something but you don't have to

tell me if you don't want.

BEN

What?

MRS. BRADDOCK

Well I'm going to ask you what

you do when you go off at night.

BEN

When I go off?

MRS. BRADDOCK

You don't have to tell me if

you don't want.

BEN

No, I do.  I want to tell you.

There is a pause.

BEN

I drive around.

MRS. BRADDOCK

What else?

BEN

Nothing else.

MRS. BRADDOCK

Well you don't drive around from

midnight until noon the next

day, Benjamin.

BEN

Oh, no.

MRS. BRADDOCK

Then what do you do?  Do you

meet someone?

BEN

Meet someone?

She nods.

BEN

Why did you say that?

MRS. BRADDOCK

Well this is your business,

Benjamin.

(she starts toward

the door)

If you -

BEN

No wait.  Wait.

She stops.

BEN

I don't meet anyone, mother, but

why did you say that?

MRS. BRADDOCK

Benjamin, I'm not going to pry

into your affairs, but I'd

rather you didn't say anything

at all than be dishonest.

Goodnight, Benjamin.

BEN

Well, wait.

She looks at him.

BEN

You think I'm being dishonest?

She nods.

BEN

Well why do you - why do you

think that?

MRS. BRADDOCK

Because I know you don't drive

around for twelve hours.

BEN

Oh.  Well, I don't.  Shall I

tell you what I do?

MRS. BRADDOCK

Not if you don't want to.

BEN

I do.

MRS. BRADDOCK

But I don't want you to make

up something.

BEN

I'm not.  But I'm - I'm not very

proud of what I do.  I usually

get kind of drunk.  I usually

drive over to Los Angeles and

go to some bars and get kind of

drunk.  Then I take a hotel

room.  So I won't have to drive

home on the freeway.  I mean it

kind of scares me to drive home

after -

MRS. BRADDOCK

Goodnight, Benjamin.

BEN

You believe me, don't you?

MRS. BRADDOCK

No.

BEN

You don't?

She shakes her head.

BEN

But I want you to.  Please. Please

will you believe me.

85A	SHOT - MRS. BRADDOCK

MRS. BRADDOCK

(she exits)

Goodnight.

BEN'S VOICE

Wait a minute.

CUT TO:

86-

90	OMITTED

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

Mrs. Robinson's hands are undoing his necktie.  Ben is

dressed as in previous scene, plus a jacket.

BEN

Wait a minute.

(he pushes her

hand away)

Sit down a minute.

Mrs. Robinson looks at him and raises her eyebrows.

BEN

Will you please sit down a

minute.

Mrs. Robinson walks to the bed and sits.  She reaches

down to take off a shoe.

BEN

Will you leave that shoe on for

a minute.  Please.

She straightens up.

BEN

Now - do you think we could say

a few words to each other first

this time?

MRS. ROBINSON

If you want.

BEN

Good.  I mean are we dead or

something?

MRS. ROBINSON

Well I just don't think we have

much to say to each other.

BEN

All we ever do is come up here

and throw off the clothes and

leap into bed together.

MRS. ROBINSON

Are you tired of it?

BEN

I'm not.  No.  But do you think

we could liven it up with a

few words now and then?

MRS. ROBINSON

Well what do you want to talk

about?

BEN

Anything.  Anything at all.

MRS. ROBINSON

Do you want to tell me about

some of your college experiences?

BEN

Oh my God.

MRS. ROBINSON

Well?

BEN

Mrs. Robinson.  If that's the best

we can do let's just get the god-

damn clothes off and --

She reaches for her shoe.

BEN

Leave it on!  Now we are going to

do this thing.  We are going to

have a conversation.  Think of

another topic.

MRS. ROBINSON

How about art.

BEN

Art.  That's a good subject.

You start it off.

MRS. ROBINSON

You start it off.  I don't know

anything about it.

BEN

Oh.

MRS. ROBINSON

Don't you?

BEN

Yes I do.  I know quite a bit

about it.

MRS. ROBINSON

Go ahead then.

BEN

Art.  Well what do you want to

know about it.

She shrugs.

BEN

Are you interested more in modern

art or more in classical art.

MRS. ROBINSON

Neither.

BEN

You're not interested in art?

MRS. ROBINSON

No.

BEN

Then why do you want to talk

about it?

MRS. ROBINSON

I don't.

Ben nods and looks at the rug.

MRS. ROBINSON

Can I take off my clothes now?

BEN

No.  Think of another topic.

Tell me what you did today.

MRS. ROBINSON

Do you really want me to?

BEN

Yes I do.

MRS. ROBINSON

I got up.

Ben starts shaking his head.

MRS. ROBINSON

Do you want to hear it or not?

BEN

Yes.  But you might try and spice

it up with a little originality.

MRS. ROBINSON

I got up.  I ate breakfast and

went shopping.  During the after-

noon I read a novel.

BEN

What one.

MRS. ROBINSON

What?

BEN

What novel did you read.

MRS. ROBINSON

I don't remember.

Ben nods.

MRS. ROBINSON

Then I fixed supper for my husband

and waited until -

BEN

There!

MRS. ROBINSON

What?

BEN

Your husband!  Mrs. Robinson!

There's something we could have

a conversation about.

MRS. ROBINSON

Him?

BEN

I mean everything.  I don't know

anything about how you - how you

work this.  I don't know how you

get out of the house at night.  I

don't know the risk involved.

MRS. ROBINSON

There isn't any.

BEN

There's no risk?

She shakes her head.

BEN

How do you get out of the house?

MRS. ROBINSON

I walk out.

BEN

You walk right out the door.

She nods.

BEN

What do you say to him?

MRS. ROBINSON

He's asleep.

BEN

Always?

MRS. ROBINSON

Benjamin, this isn't a very

interesting topic.

BEN

Please.  Now tell me.  How do

you know he won't wake up

sometime and follow you.

MRS. ROBINSON

Because he takes sleeping pills.

He takes three sleeping pills

every night at ten o'clock.

BEN

But what about the noise from

the car.  What if -

MRS. ROBINSON

The driveway's on my side of

the house.

BEN

(smiling)

We're talking.

MRS. ROBINSON

What?

BEN

We're talking, Mrs. Robinson.

We're talking.

MRS. ROBINSON

Calm down, Benjamin.

BEN

Now let's keep going here.

MRS. ROBINSON

Can I undress and talk at the

same time?

BEN

Right.

MRS. ROBINSON

Thank you.

BEN

Now.  You say the driveway's on

your side of the house.  So I

guess you don't sleep in the

same room.

MRS. ROBINSON

We don't.

BEN

So you don't - I mean I don't

like to seem like I'm prying

but I guess you don't sleep

together or anything.

MRS. ROBINSON

No we don't.

BEN

Well how long has this been going

on.

MRS. ROBINSON

(looking at the

ceiling for a moment)

About five years.

BEN

Oh no.  Are you kidding me?

MRS. ROBINSON

No.

BEN

You have not slept with your

husband for five years?

MRS. ROBINSON

Now and then.  He geats drunk a

few times a year.

BEN

How many times a year.

MRS. ROBINSON

On New Year's Eve.  Sometimes on

his birthday.

BEN

Man, is this interesting.

MRS. ROBINSON

Is it?

BEN

So you don't love him.  You

wouldn't say you -

MRS. ROBINSON

We've talked enough, Benjamin.

BEN

Wait a minute.  So you wouldn't

say you loved him.

MRS. ROBINSON

Not exactly.

BEN

But you don't hate him.

MRS. ROBINSON

No, Benjamin.  I don't hate him.

Unhook my blouse.

BEN

(unhooking her blouse)

Well how do you feel about him,

then?

MRS. ROBINSON

I don't.

BEN

Well that's kind of a bad

situation then, isn't it?

MRS. ROBINSON

Is it?

BEN

I mean it doesn't sound like it

could be much worse.  If you

hated him at least you'd hate

him.

She nods and takes off her blouse.

BEN

Well you loved him once, I

assume.  When you first knew

him.

MRS. ROBINSON

No.

BEN

What?

MRS. ROBINSON

I never did, Benjamin.  Now

let's -

BEN

Well, wait a minute.  You married

him.

She nods.

BEN

Why did you do that?

MRS. ROBINSON

(taking off her

stockings)

See if you can guess.

BEN

Well I can't.

MRS. ROBINSON

Think real hard, Benjamin.

BEN

I can't see why you did, unless

...you didn't have to marry him

or anything, did you?

MRS. ROBINSON

Don't tell Elaine.

BEN

Oh no.  You had to marry him

because you got pregnant?

MRS. ROBINSON

Are you shocked?

BEN

Well I never thought of you and

Mr. Robinson as the kind of

people who...

MRS. ROBINSON

All right.  Now let's get to bed.

BEN

Wait a minute.  Wait a minute.

So how did it happen?

MRS. ROBINSON

What?

BEN

I mean do you feel like telling

me what were the circumstances?

MRS. ROBINSON

Not particularly.

BEN

Was he a law student at the time?

She nods.

BEN

And you were a student also.

MRS. ROBINSON

Yes.

BEN

At college.

MRS. ROBINSON

Yes.

BEN

What was your major?

MRS. ROBINSON

Why are you asking me all this?

BEN

Because I'm interested, Mrs. Robinson.

Now what was your major subject

at college?

MRS. ROBINSON

Art.

BEN

Art?

She nods.

BEN

But I thought you - I guess you

kind of lost interest in it over

the years then.

MRS. ROBINSON

Kind of.

BEN

Well how did it happen?

MRS. ROBINSON

How do you think.

BEN

I mean did he take you up to

his room with him?  Did you go

to a hotel?

MRS. ROBINSON

Benjamin, what does it possibly

matter?

BEN

I'm curious.

MRS. ROBINSON

We'd go to his car.

BEN

Oh no.  In the car you did it?

MRS. ROBINSON

I don't think we were the first.

Ben thinks for a moment.

BEN

What kind of car was it?

MRS. ROBINSON

What?

BEN

Do you remember the make of the

car?

MRS. ROBINSON

Oh my God.

BEN

Really.  I want to know.

MRS. ROBINSON

It was a Ford, Benjamin.

BEN

(jumping up)

A Ford!  A Ford!  Goddamnit, a

Ford!  That's great!

MRS. ROBINSON

That's enough.

BEN

So old Elaine Robinson got started

in a Ford.

There is a pause.

MRS. ROBINSON

Don't talk about Elaine.

BEN

Don't talk about Elaine?

MRS. ROBINSON

No.

BEN

Why not?

MRS. ROBINSON

Because I don't want you to.

She walks to the bed.

BEN

Well why don't you?

She pulls the bedspread down.  Ben begins to remove his

jacket.

BEN

I wish you'd tell me.

MRS. ROBINSON

There's nothing to tell.

BEN

Well why is she a big taboo

subject all of a sudden?

Mrs. Robinson uncovers one of the pillows.

BEN

Well - I guess I'll have to ask

her out on a date and find out

what's --

MRS. ROBINSON

Benjamin, don't you ever take

that girl out.

Ben looks at her.

MRS. ROBINSON

Do you understand that?

BEN

Well look.  I have no intention

of taking her out.

MRS. ROBINSON

Good.

BEN

I was just kidding around.

MRS. ROBINSON

Good.

BEN

But why shouldn't I?

MRS. ROBINSON

I have my reasons.

BEN

Then let's hear them.

MRS. ROBINSON

No.

BEN

Let's hear your reasons, Mrs.

Robinson.  Because I think I

know what they are.

She pulls the covers down.

BEN

I'm not good enough for her to

associate with, am I?  I'm not

good enough to even talk about

her, am I?

MRS. ROBINSON

Let's drop it.

BEN

We're not dropping it.  Now

that's the reason, isn't it?

I'm a dirty degenerate, aren't

I?  I'm not fit to -

MRS. ROBINSON

Benjamin?

BEN

I'm good enough for you but I'm

too slimy to associate with

your daughter.  That's it, isn't

it?  ISN'T IT?

MRS. ROBINSON

Yes.

BEN

You go to hell.  You go straight

to hell, Mrs. Robinson.  Do you

think I'm proud of myself?  Do

you think I'm proud of this?

MRS. ROBINSON

I wouldn't know.

BEN

Well, I'm not.

MRS. ROBINSON

You're not.

BEN

No sir.  I am not proud that I

spend my time with a broken-

down alcoholic!

MRS. ROBINSON

I see.

BEN

And if you think I come here

for any reason besides pure

boredom, then you're all wrong.

She nods.

BEN

Because - Mrs. Robinson this

is the sickest, most perverted

thing that ever happened to

me.  And you do what you want

but I'm getting the hell out.

MRS. ROBINSON

Are you?

BEN

You're goddamn right I am.

He starts putting on his shirt.  She sits on the edge of

the bed and watches him.

MRS. ROBINSON

That's how you feel about me.

He nods.

MRS. ROBINSON

That I'm a sick and disgusting

person.

BEN

Now don't start this.

MRS. ROBINSON

What?

BEN

Don't start acting hurt.

MRS. ROBINSON

Don't you expect me to be a

little hurt?

BEN

Mrs. Robinson, you stand there

and tell me I'm not good enough

for your daughter.

MRS. ROBINSON

Did I say that?

BEN

Of course you did.

She shakes her head.

MRS. ROBINSON

Benjamin, I want to apologize

to you if that's the impression

you got.

BEN

Well two minutes ago you told

me I wasn't good enough for

your daughter.  Now you say

you're sorry I got that

impression.

MRS. ROBINSON

I didn't mean it.  I don't think

you'd be right for each other.

But I would never say you

weren't as good a person as

she is.

BEN

You wouldn't.

MRS. ROBINSON

Of course I wouldn't.

Mrs. Robinson walks to the closet.

BEN

What are you doing?

MRS. ROBINSON

Well it's pretty obvious you

don't want me around any more.

BEN

Well look - I was kind of upset

there.  I'm sorry I said those

things.

MRS. ROBINSON

If that's how you feel -

BEN

But it's not.

MRS. ROBINSON

(smiling at him)

That's all right.  I think I

can understand why I'm disgusting

to you.

BEN

Oh no.  Look - I like you.  I

wouldn't keep coming here if

I didn't like you.

MRS. ROBINSON

But if it's sickening for you -

BEN

It's not!  I enjoy it!  I look

forward to it.  It's the one

thing I have to look forward

to.

MRS. ROBINSON

You don't have to say that.

BEN

Well I wouldn't.  I would never

say it if it wasn't true.

MRS. ROBINSON

May I stay then?

BEN

Yes. Please.  I want you to.

MRS. ROBINSON

Thank you.

BEN

Well don't thank me, because I

want you to.

There is a long pause.

MRS. ROBINSON

But you won't ever take out

Elaine, will you?  I want you

to promise me that.

There is another long pause.

BEN

Look.  Why the hell did you

bring this up.  It never

occured to me to take her out.

MRS. ROBINSON

Then give me your word you won't.

BEN

This is absurd.

MRS. ROBINSON

Promise me, Benjamin.

BEN

All right, for christ's sake.

I promise I will never take

out Elaine Robinson.

MRS. ROBINSON

Thank you.

(pause)

Benjamin -

BEN

Let's not talk about it.  Let's

not talk at all.

At opposite sides of the room, without looking at each

other, they begin to take off their clothes.

FADE OUT

FADE IN

92	INT. BRADDOCK KITCHEN - DAY

Ben sits at the table, eating his breakfast and looking

at the back of a cereal box.  Mr. and Mrs. Braddock

are there.

MR. BRADDOCK

Elaine's back from school.  I

think it might be a nice gesture

if you asked her out.

Benjamin looks at his father for a moment, then continues

eating and reading.

CUT TO:

93	INT. BEN'S ROOM - DAY

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

doorway.

MRS. BRADDOCK

Don't you think that she's a

terribly attractive girl?

Because I think she's one of

the prettiest girls I've

ever seen.

Ben gives a small whimper.

CUT TO:

94	EXT. BRADDOCK BACKYARD AND POOL AREA - DAY

Ben is lying face down on his raft in the middle of the

Braddock pool.  The sun shines down.  His diving mask

is on over his eyes.  His face is in the water, looking

down at the bottom of the pool.  Mr. and Mrs. Braddock,

in their bathing suits, are in the pool, paddling around

Ben.  During the entire conversation they continue to

swim around and around the raft, trying to talk and keep

their heads above the surface.

MRS. BRADDOCK

It's pretty embarrassing.  I

really don't know what to tell

Mr. Robinson.  It's ackward

and strained for me every time

he suggests that you call up

Elaine.

BEN

Next time he suggests it,

I'll tell him I have no

intention of ever calling

her up in my life.

MR. BRADDOCK

I guess she's not good enough

for you, is that it?

BEN

Look - Elaine Robinson and I

do not get along.

MR. BRADDOCK

How do you know?  You haven't

seen her since high school.  I

guess your evenings, whatever

you do with them, are just too

valuable.

BEN

That has nothing to do with it -

MR. BRADDOCK

I guess I'll just tell Mr. Robinson

that you're just too busy every

evening - doing God knows what -

MRS. BRADDOCK

Don't go on like this.  Now if

Benjamin absolutely refuses to

take her out -

BEN

I do.

MRS. BRADDOCK

- then I'll simply invite all the

Robinsons' over for dinner on

Thursday.

95	SHOT - BEN

He slides off the raft and goes underwater.

96	SHOT - BEN UNDERWATER

His hair streaming up, his eyes open.

CUT TO:

97	INT. SPECIAL SET BRADDOCK DINING ROOM - NIGHT

The dining room is one tenth its normal size.  At a

table for two are seated, jammed in against each other,

the three Robinsons and the three Braddocks.  Elaine's

back is to us.  Ben is at the other end of the table,

facing us.  The Robinsons and Braddocks sit along

the sides.  Mrs. Robinson is next to Ben, everyone is

eating, looking down at their places.  After a few moments

Ben throws his head back ans starts to scream.  As he

continues to scream, everyone looks at him except Mrs.

Robinson who continues to eat calmly without looking up.

CUT TO:

98	EXT. BRADDOCK BACKYARD AND POOL AREA - DAY

Ben surfaces and pulls himself up on the side of the

pool.

BEN

I'll go call Elaine now.

Mr. and Mrs. Braddock cling exhausted to the raft and

try to smile at each other.

SOUND:  Ding dong of the Robinson door chimes.

CUT TO:

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

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

smile.

MR. ROBINSON

Well, Braddock - it's about

time you got around to this.

Come on in.  I'm afraid the

young lady isn't quite ready

yet -

Mr. Robinson turns toward the sunroom.  Mrs. Robinson is

sitting there.

BEN

Hello.

MR. ROBINSON

What would you say to a short one?

Bourbon still your drink?

BEN

Yes.

Mr. Robinson hands him drink.

MR. ROBINSON

I'll see if she's ready.

Mr. Robinson exits.

100	SHOT - BEN AND MRS. ROBINSON

NOTE  Following dialogue played simultaneously

BEN	MR. ROBINSON'S VOICE

Now listen -- this was not	(from hall)

my idea.  It was my father's	Hey -- there she is.  Miss

idea.	America -- that's who it is.

It's definitely Miss America.

MRS. ROBINSON

Benjamin -- I thought I made	ELAINE'S VOICE

myself perfectly clear about	Daddy - can you fix this?

this.	The clasp is broken I think.

BEN	MR. ROBINSON'S VOICE

(whispering urgently)	I'll do it - I'll do it.

Look, we'll go out to dinner

and have a drink and I'll	ELAINE'S VOICE

bring her back.  Because it	Is Ben here?

was either that or a dinner

party for the two families.	MR. ROBINSON'S VOICE

And I'm afriad I couldn't	He's in the living room having

quite handle that, if you	a chat with your mother.

don't mind.  I have no

intention of ever taking your

precious daughter out again

in her life.  So don't get

upset about it.

MRS. ROBINSON

But I am.  I'm extremely upset

about it, Benjamin.

Mr. Robinson and ELAINE enter.

ELAINE

Hello.

BEN

Hello.

101	CLOSEUP - MRS. ROBINSON

MR. ROBINSON'S VOICE

Well - I want you to keep your

wits about you tonight.  You never

know what tricks Ben picked up

back there in the East.

LAP DISSOLVE TO:

102	EXT. FREEWAY - NIGHT

SHOT - BEN AND ELAINE in Ben's car.  From the back.  Ben

leans forward slightly, pushing the car recklessly in

and out of the traffic.  Ben is wearing dark glasses.

ELAINE

You're living at home now.  Is

that right?

BEN

Yes.

ELAINE

Do you know what you're going

to do?

BEN

No.

ELAINE

Are you going to graduate school?

BEN

No.

He leans on the HORN.  The car directly ahead of him

does not move to the right.  Ben jerks his car over to the

right, swerves around the car ahead, jamming his horn

down, and swerves back into the outside lane, giving the

driver of the other car an angry look as he passes him.

Elaine holds on to the dashboard to keep her balance.

ELAINE

Do you always drive like this?

BEN

Yes.

CUT TO:

103	INT. RESTAURANT - NIGHT

A drab, almost deserted room with formally dressed WAITERS.

Ben and Elaine are seated at a table.

BEN

Do you want some dinner?

ELAINE

I'd love some.

A waiter moves forward toward them.

BEN

Bring a menu.

WAITER #2

Dinner for two, sir?

BEN

No.  Just for her.

The waiter moves away.

ELAINE

Aren't you eating?

BEN

No.

ELAINE

Why not?

BEN

If it's all right with you,

I'm not hungry.

The waiter returns with a menu.

ELAINE

I've changed my mind.  Thank

you.

CUT TO:

104	EXT. SUNSET STRIP - NIGHT - SHOTS

Ben and Elaine walking on the strip.

105	EXT. STRIP JOINT - NIGHT

Ben pushes through the people crowded in around the

entrance.  Without turning around, he waits for Elaine

who has difficulty following him.  As she gets to him,

he starts forward again.  He starts up the stairs.

Elaine is just behind him.

CUT TO:

106	INT. STRIP JOINT - NIGHT

Seedy, ugly, three quarters filled.  A tuxedoed HOOD leads

them through the tables to a table directly under the stage

on which a STRIPPER is in the process of removing her

dress.  There is one chair facing the stage, the other with

its back to and up against the stage.  Ben sits down in

the chair facing the stage.  Elaine stands for a moment,

unsure.

BEN

Sit down.

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

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

Ben takes a pair of dark glasses out of his pocket and

puts them on.  The two chairs are slightly angled toward

each other so that Ben can look up at the stage without

looking directly at Elaine.

BEN

Why don't you watch the show?

The stripper is reflected in Ben's glasses.

ELAINE

Benjamin - do you dislike me

for some reason?

BEN

No - why should I?

ELAINE

I don't know.

107	SHOT - ACROSS BEN - THE STRIPPER

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

twirling the tassels.

BEN

You're missing a great effect

here.

Elaine turns around, looks at the stripper and turns

back.

BEN

How do you like that?

Elaine doesn't answer.

BEN

Could you do it?

ELAINE

No.

The stripper sees Elaine look.  The stripper smiles toward

Ben and walks toward his table, twirling the tassels as she

walks.  Ben smiles as he watches her approaching.

The stripper moves directly behind Elaine's chair.  The

spotlight from the back of the house falls into Elaine's

face.  As it does, Elaine puts her hand up to shield

her eyes.

The stripper slides a finger into her mouth, wets it

and holds it up in the air.  The music stops and a

DRUM ROLL starts.  The stripper bends over Elaine's head

and begins swinging the tassels so that they rotate in

front of Elaine's face.

108	SHOT - BEN

He leans forward slightly to watch the action.  The

swinging tassels are reflected in his glasses.

The DRUM ROLL gets louder and faster.  The tassels

swing more frantically.

109	SHOT - ELAINE

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

110	SHOT - BEN

With Elaine's face reflected in his glasses.

111	SHOT - ELAINE

Through Ben's glasses.  Elaine's face seen darkly but

fully for the first time.  The tassels swing in front

of it.  Tears start out of her eyes.

112	SHOT - BEN

He reaches up to remove the glasses.

113	SHOT - ELAINE

As the glasses come off and her face is seen in the harsh

spill from the spotlight.  The tears are running down

her face.  Only her eyes are crying as she looks straight

at Ben.

114	SHOT - BEN

With his glasses off, he watches her.  He reaches forward

and puts his hand in the way of the tassels.

STRIPPER

Hey!

Some of the customers start to boo.  Ben rises, takes

Elaine's arm and leads her toward the exit.

CUT TO:

115	EXT. STRIP JOINT - NIGHT

The entrance to the strip joint.  Elaine runs to the

bottom of the steps.  The Sunset Strip sidewalk outside

is crowded with people moving back and forth.  Ben follows

her.  She pushes through the crowd on the sidewalk.  Ben

catches her and holds her arm.

BEN

Elaine - I'm sorry.

Elaine leans against the side of the building and pulls

her arm away.

ELAINE

Will you take me home now?

BEN

I'm sorry I took you in there.

ELAINE

I think I'd better go home now

please.

BEN

But, Elaine -

ELAINE

Where is the car?

BEN

I just want to tell you something.

Ben, facing her, keeps moving from side to side, trying

to get her to look at him.  She keeps looking away.

ELAINE

I want to go home.

BEN

But could I just tell you this

one thing?

ELAINE

What?

BEN

This whole idea - this date

and everything.  It was my

parents' idea.  They forced me

into it.

ELAINE

Oh - that's very nice of

you to tell me.

BEN

No.  What I mean is - that's

why I've been acting this way.

I'm not like this.  I hate

myself like this.

She starts to cry.  People on the sidewalk are looking at

them.  She turns away from them.  Ben moves away from

them.  Ben moves around in front of her.

BEN

Listen - could you stop crying,

please?

ELAINE

No, I couldn't.

BEN

But could you try?

ELAINE

No.

She brings both hands up to her face.  Ben looks at her

for a few moments in agony.  Then, very determined, he

takes her wrists in his hands and pulls them away from

her face.  She looks up startled.  She starts to give a

little cry but before she can he is kissing her.  She closes

her eyes.

He brings his fists, containing her hands, up to the side

of her face.  He opens his hands against her face, freeing

her hands.  Her hands move slowly to his wrists and hang

on.  After a while she pulls away, turning her head slightly

to one side.

BEN

Elaine -

He starts to pull her head back.

ELAINE

Not here.  Not here.

DISSOLVE TO:

116	EXT. DRIVE IN RESTAURANT - NIGHT

Ben and Elaine are sitting in the car in a drive-in

restaurant.  There are trays hooked onto windows along

side of both of them.  They are eating and drinking

furiously.

BEN

I've had this feeling - ever

since I've graduated - this -

kind of compulsion that I have

to be rude all the time.  Do

you know what I mean?

ELAINE

Yes, I do.

He looks at her.

BEN

It's like I've been playing

some kind of - game - but the

rules don't make any sense to

me -

She is watching him carefully.

BEN

- they're being made up by all

the wrong people - no - I mean

no one makes them up, they seem

to have made themselves up.

A car with a COUPLE OF TEENAGERS has driven up in the

slot on their right.  Its RADIO is tuned into a rock

and roll station and it is playing LOUDLY.  Ben leans

across Elaine and speaks through the window to the

kid behind the wheel.

BEN

Say - I wonder if I could request

you to turn that down a little?

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

windows up.

117	SERIES OF SHOTS

From outside of car.  Ben is talking with great animation

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

talks, telling Elaine a story.  Their windows are rolled

up.

SOUNDS: Cars GUNNING their ENGINES; horns HONKING;

radios PLAYING; waitresses YELLING orders; customers

YELLING at waitresses; kids LAUGHING and TALKING from

car to car; MOTORCYCLES driving in and out, TRAFFIC.

CUT TO:

118	EXT. ROBINSON HOUSE - NIGHT

The car coasts silently to a stop in front of the Robinson

house.  The RADIO plays QUIETLY.  Ben turns it OFF.  They

sit there for a long time without saying anything, Ben's

hand touching her shoulder.  It is very quiet.

ELAINE

Well - maybe I'd better go in.

He nods.  They continue to sit there for another long

moment.

ELAINE

Would you like to come in?  I

could make some coffee.

BEN

No, I mean - I wouldn't want to

wake anyone up.

ELAINE

We won't.  Let's go inside.

BEN

Wait a minute.

ELAINE

Is anything wrong?

BEN

No - I was just thinking -

look - it's still early -

we could do something - go

somewhere else.

ELAINE

All right.

He starts the car immediately and drives away from the

house.

119	INT. BEN'S CAR - NIGHT

Ben is driving.

ELAINE

Where we going?

BEN

I'm trying to think of where

there's a place to have a

drink around here.

ELAINE

Isn't there one in the Taft

Hotel?

There is a SQUEAL of TIRES as Ben almost drives off

the road.

ELAINE

What is the matter?

BEN

Nothing.  I'm just wondering if

they have a bar or not.  I mean

let's go see.  Let's go see if

they do or not.

120	INT. TAFT HOTEL LOBBY - NIGHT

Ben and Elaine enter the lobby and stand just inside

the door.  They start in a few steps.

BEN

Listen, Elaine - it seems to me

that there isn't a bar in here.

I mean - as far as I know.

ELAINE

Of course there is.  Look -

The Veranda Room - right there.

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

CAR PARKER

Good evening.

CAMERS BEGINS TO PULL UP AND AWAY.  A BELLBOY passes

them.

BELLBOY

Hello, how are you, sir?

The room clerk smiles at them.

ROOM CLERK

Good evening, Mr. Gladstone.

Ben and Elaine stop a few feet into the center of the

lobby.  The CAMERA PULLS BACK to a HIGH OVERHEAD SHOT

revealing many people moving back and forth in the

lobby, passing Ben and Elaine.

VOICE #1

Hello again.

VOICE #2

Hi, Mr. Gladstone.  How are you

this evening?

ELAINE

Benjamin -

BEN

Let's get out of here, Elaine.

Let's go somewhere else.

ELAINE

Benjamin - do they know you?

BEN

Of course not.

VOICE #3

Good evening, sir.

VOICE #4

Mr. Gladstone - how are you?

He moves her toward the door.

BEN

Come on, Elaine.  We're leaving.

CUT TO:

121	EXT. TAFT HOTEL

Ben brings Elaine through the door to the porch.

ELAINE

Ben - what's happening?  Who

is Mr. Gladstone?

BEN

I don't know.  They must think

I look like this guy Gladstone.

PAN WITH THEM as they start down the steps.  Coming up

the steps toward them is Miss DeWitte, on the arm of

another ELDERLY LADY.

MISS DeWITTE

Hello, Mr. Brannif.

SOUND:  Car STARTING noisily.

122	EXT. TAFT HOTEL DRIVEWAY - NIGHT

Ben and Elaine in his car.  He takes his hand off

the ignition, jams on the accelerator and drives the car

speedily for twenty-one feet and jams on the brakes.  He

turns off the ignition and the lights.  He puts his

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

BEN

Elaine - I like you.  I like you

so much.  Do you believe that?

She nods.

BEN

Do you?

ELAINE

Yes.

BEN

You're the first - you're the

first thing for so long that

I've liked.  The first person

I could stand to be with.

She takes his hand.

BEN

I mean my whole life is such a

waste.  It's just nothing.  I'm

sorry.  I'll take you home now.

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

ELAINE

Benjamin - are having an

affair with someone?

He freezes with his hand still on the key.

ELAINE

I'm sorry.

He turns off the engine.

ELAINE

I'm sorry.  That is not my

business.

BEN

It just happened.  It was just

this thing that happened along

with everything else.  Can you

understand that?

She nods.

ELAINE

Was she married or something?

BEN

Yes.

ELAINE

With a family?

BEN

Yes.  She had a husband and a

son.

ELAINE

Did they ever find out?

BEN

No.

ELAINE

And it's all over now.

BEN

Yes.

ELAINE

I'm glad.

He starts the car and drives out.

123	EXT. ROBINSON HOUSE - NIGHT - SHOT - BEN AND ELAINE IN

BEN'S CAR

BEN

Can we do something tomorrow?

ELAINE

All right.

BEN

During the day?  We'll go for

a drive or something.

ELAINE

Okay.

BEN

You sure you really want to?

ELAINE

Yes.

BEN

Because I wouldn't want you to

do it unless you really wanted

to!

ELAINE

I do.

BEN

You do?

ELAINE

Benjamin - I really do.

DISSOLVE TO:

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

SHOT - INT. BEN'S CAR - BEN DRIVING

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

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

Ben's right hand is on it as he drives.  The radio is

playing.  Past Ben and through the windsheild as the

Robinson house comes closer and closer.  The front door

of the Robinson house opens and Mrs. Robinson comes out,

dressed in a housecoat, and, in four or five fast steps,

reaches the car, opens the door on the passengers side

and climbs in.  Ben moves the package over into his lap.

MRS. ROBINSON

Drive down the block.

BEN

Mrs. Robinson - I have a date

with Elaine.  We're going for

a drive.

MRS. ROBINSON

(looking at him

for the first time)

Do exactly what I say.

Ben starts the car forward down the driveway.

125	ANOTHER ANGLE - BEN AND MRS. ROBINSON

As they drive.

BEN

Now it seems to me -

MRS. ROBINSON

Listen to me very carefully,

Benjamin.  You are not to see

Elaine again.  Ever.  Those

are my orders.  Is that clear?

Ben stops the car in front of a house halfway down

the block.

BEN

Mrs. Robinson -

MRS. ROBINSON

I can makes things quite unpleasant.

BEN

How?

MRS. ROBINSON

In order to keep Elaine away

from you - I am prepared to

tell her everything.

BEN

I don't believe you.

MRS. ROBINSON

Then you'd better start believing me.

BEN

Mrs. Robinson, don't wreck it.  I'm

asking you please not to wreck it.

MRS. ROBINSON

Go home now.

BEN

I just don't believe you would do that.

Mrs. Robinson looks at him for a moment.

MRS. ROBINSON

Try me.

There is a pause while Ben looks at her expression.  Then

he grabs the keys out of the ignition, opens the door on

his side and jumps out of the car, carrying the package.

TRACK WITH BEN as he runs up the street and up the drive-

way toward the Robinson house.  Ben gets to the front

door.

BEN

(as he goes through

the door)

Elaine!

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

Ben runs in.

BEN

Elaine?

ELAINE'S VOICE

Benjamin?

BEN

I'm coming up.

ELAINE'S VOICE

I'm not dressed yet.

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

Ben gets to the top just as Elaine comes out of the door

to her bedroom.  She is wearing a skirt and slip and

carrying one shoe.

ELAINE

Benjamin - I said I wasn't dressed -

Ben pushes her back into her room.

127	INT. ELAINE'S ROOM - DAY

ELAINE

What's the matter?

BEN

You've got to go over the back

fence and I'll meet you on the

corner.

ELAINE

Benjamin - what's happening?

BEN

Hurry up.  Put your shoes on.

Ben turns and looks.

128	SHOT - OVER BEN'S SHOULDER

Mrs. Robinson is just entering the house.

BEN

NO.

He turns around.

129	NEW ANGLE

Elaine is standing in the doorway watching him.  She

still holds the shoe in her hand.

BEN

Why aren't you ready?

ELAINE

Because I want to know what's

happening.

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

BEN

There isn't time!

130	INT. ELAINE'S ROOM - DAY

Ben pulls Elaine around behind the open door.  They stand

in the angle formed by the door and the wall as though

they are hiding from someone.  Mrs. Robinson's FOOTSTEPS

can be heard coming up the stairs.

BEN

Elaine - I have to tell you

something.

He holds her against the wall in the corner.

ELAINE

What is it?

BEN

That woman -

ELAINE

What?

BEN

That woman.  The older woman.

ELAINE

You mean the one who -

BEN

Yes.  The married woman - it

wasn't just some woman -

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

hall.

ELAINE

What are you telling me?

The FOOTSTEPS stop.

131	ANGLE - CLOSE ON ELAINE

Back in the corner.  Mrs. Robinson's face appears in the

crack in the door at Elaine's shoulder.  Elaine looks from

Ben's face to the crack through which she can see her

mother's eyes staring.

ELAINE

Please - will somebody tell me -

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

Mrs. Robinson's eyes watch her through the crack in the

door.  Elaine looks away.

ELAINE

Oh - no.

Ben backs up.

BEN

Elaine -

ELAINE

Oh my God -

Moving along the wall as though to keep as far from Ben

as possible, Elaine moves away from the door.

BEN

Please.

Elaine walks a few steps toward the other side of the room

then turns back toward Ben.  The tears are starting out

of her eyes.

BEN

No - don't cry -

ELAINE

GET OUT!

BEN

Don't cry.

(holds the package

out to her)

ELAINE

Get out of here.

She moves toward him as though to hit him.  He backs into

the hall.  Elaine SLAMS the door shut.

ELAINE

(holding the door)

Get out!

132	INT. ROBINSON HALL - DAY

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

MRS. ROBINSON

(calmly)

Goodbye, Benjamin.

133	SHOT - BENJAMIN

He looks at her in horror.  He starts to back down the

hall toward the stairs, holding the package against

his chest.

134	INT. SPECIAL SET - ROBINSON HALL - DAY - SHOT - PULLING

BACK FROM MRS. ROBINSON

She is standing there, perfectly calm.  She gets further

and further away as though it is a very long hall in a

very bad dream.

FADE OUT

FADE IN

135	INT. BEN'S ROOM - NIGHT

Ben sits cross-legged on his bed in the dark, his back

against the fishtank, smoking.

DISSOLVE THROUGH TO:

136	EXT. ROBINSON HOUSE - DAY

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

DISSOLVE TO:

137	INT. BEN'S ROOM  - DAY

Ben dressed differently, stands by the window overlooking

the backyard.  Over his shoulder, we can see Mr. Braddock

down by the pool, dressed in a sweater, cleaning the pool

with a long-handled scoop.  Mr. Braddock looks up at Ben's

window.  Ben moves aside.

DISSOLVE TO:

138	EXT. ROBINSON HOUSE - DAY

Ben is standing behind a tree watching the

Robinson house.  In the driveway of the Robinson house,

Elaine is getting into the Robinson car.  Mr. Robinson

is putting Elaine's luggage into the car.  Mrs. Robinson

stands at the door.  Mr. Robinson gets into the car and

starts it.  The car drives down the driveway and down the

street.

DISSOLVE TO:

139	INT. BEN'S ROOM - NIGHT

Ben, dressed differently again, sits in a chair by his

desk.  He is writing.  On the piece of paper is written:

DEAR ELAINE, ELAINE, ELAINE, ELAINE, and her name several

dozen times.  He stops and looks up.

DISSOLVE TO:

140	INT. BRADDOCK KITCHEN - DAY

It is early morning.  We see a swinging door pushed open

to reveal:  Mr. Braddock, dressed in a bathrobe, standing

at the kitchen counter by the window through which we can

see an orange tree.  Mr. Braddock is pouring orange juice

from a MINUTE MAID container.  Ben stands inside door.

MR. BRADDOCK

Say that again.

BEN

I'm going to marry Elaine Robinson.

MR. BRADDOCK STARTS TO SMILE.

MR. BRADDOCK

Well - well - well -

He almost giggles as he crosses to Ben and takes his hand

to shake it.  Mrs. Braddock appears in the doorway.  Ben

is shaking his father's hand.

MRS. BRADDOCK

What's happening?

MR. BRADDOCK

Ben says he and Elaine are getting

married.

MRS. BRADDOCK

I don't believe it.

MR. BRADDOCK

That what he says.  Right?

BEN

I'm going up to Berkeley today.

MRS. BRADDOCK

Oh, Ben - this is so - exciting -

MR. BRADDOCK

Come on, let's call the Robinsons.

We've got something to celebrate.

BEN

No.  I think you'll want to wait

on that.

MRS. BRADDOCK

They don't know?

BEN

No - they don't.

MRS. BRADDOCK

Well - when did you decide all

this?

BEN

About an hour ago.

MR. BRADDOCK

Wait a minute.  You talked to

Elaine this morning?

BEN

No.  She doesn't know about it.

MR. BRADDOCK

She doesn't know that you're

coming up to Berkeley?

BEN

No.  Actually - she doesn't

know about us getting married

yet.

MRS. BRADDOCK

When did you two talk this over?

BEN

We haven't.

MR. BRADDOCK

Ben - this whole idea sounds

pretty half-baked.

BEN

No - it's not.  It's completely

baked.  It's a decision I've made.

MRS. BRADDOCK

But what makes you think she

wants to marry you?

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

BEN

She doesn't.  To be perfectly

honest, she doesn't like me.

DISSOLVE TO:

141	EXT. ROAD NO 1 TO BERKELEY - DAY

Ben driving his car (left to right)

BEN'S VOICE

(over)

Dear Elaine - I am now visiting

Berkeley, after growing somewhat

weary of family life.  I have been

meaning to stop by and pay my

respects but am not entirely certain

just how you feel about seeing me

after the incident involving myself

and your mother.  It was certainly

a serious mistake on my part but

not serious enough.  I hope --

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

CUT TO:

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

Ben driving his car (left to right)

BEN'S VOICE

(over)

Mr. and Mrs. G. L. Robinson take

great pleasure in announcing the

wedding of their daughter...

It runs down.

CUT TO:

143	EXT. GAS STATION - DAY

Ben's car is being gassed up.  It is a huge gas station

with dozens of pumps and many neon lights.  Ben runs to

a series of vending machines.  He pushes quarters into

them, receiving cigarettes, a sandwich, an apple, a cup

of coffee.  Balancing them all carefully, he runs back

to the car, climbs in, puts his purchases on top of

the dashboard, hands the attendant a bill and drives

off.

CUT TO:

144	EXT. ROAD NO. 3 TO BERKELEY - DAY

Ben driving (left to right) and eating.

BEN'S VOICE

(over)

Honey - I'm home.

ELAINE'S VOICE

(over)

Hi - Sweetheart.

BEN'S VOICE

(over)

Where are the kids?

ELAINE'S VOICE

(over)

Oh, they're having a wonderful

time - spending the day at Mother's

- she's teaching them to...

It runs down.

145	EXT. ROAD NO. 4 TO BERKELEY - DAY

Ben driving (left to right)

BEN'S VOICE

(over)

Dear Mom and Dad.  You may have

wondered why Elaine and I haven't

written in such a long time, but

the postal sytem here in Greenland

isn't the most efficient.  Life

among these wonderful natives...

It runs down.

CUT TO:

146	EXT. ROAD NO. 5 TO BERKELEY - DAY

Ben driving (left to right)

MAN'S VOICE

(over)

Do you, Benjamin Braddock take

this woman, Mrs. Robinson, for

your Mother-in-law, to love,

cherish and...

It runs down.

CUT TO:

147	EXT. TOLL BOOTH ON THE OAKLAND BRIDGE - DAY

Ben barely stops as he hands the change out the window of

the low-slung sports car and up to the toll taker.

CUT TO:

148	EXT. OAKLAND BRIDGE - DAY

Ben driving over bridge (left to right)

MRS. ROBINSON'S VOICE

(over)

Benjamin - you and Elaine have

made such a wonderful marriage.

I often laugh when I remember

those nights at the Taft.

BEN'S VOICE

(over)

Yes - how long ago that all

seems.

MRS. ROBINSON'S VOICE

(over; chuckling)

I'll never forget how peeved I

was when I first...

It runs down...

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

the distance.

DISSOLVE TO:

149	INT. WENDELL HALL RECEPTION AREA - DUSK

CLOSE ON BEN as he comes through the door.  MOVE WITH

HIM as he wanders around the the commons room which is filled

with STUDENTS.  Girls SINGING, couples necking; a MAN

with a heavy knapsack.  Ben walks to a LADY RECEPTIONIST

NO. 1, who sits at a reception desk.

LADY RECEPTIONIST NO. 1

May I help you?

BEN

(too loudly)

Elaine Robinson.

LADY RECEPTIONIST NO. 1

Yes?

BEN

(clearing his throat)

Elaine Robinson.  Does she live

here?

The Receptionist runs her pencil along a list of names

under the glass top of her desk.  She finds it.

LADY RECEPTIONIST NO. 1

Three-oh-eight.  Shall I call

her for you?

The Receptionist's hand moves to the receiver of a phone on

the desk.  Ben looks at her hand for several seconds.  He

takes a step backward.  Her hand starts to lift the receiver.

Ben moves backward, puts his hand up as though to stop her

and shakes his head, speechlessly.

150	SHOT - RECEPTIONIST

Looking at Ben.

151	SHOT - BEN

Move with him as he moves past the students toward the

door.

DISSOLVE THROUGH TO:

152	EXT. CAMPUS - DUSK

PAN AROUND CAMPUS in a circle, ending on a CLOSEUP OF

BEN, standing in the middle of the deserted campus,

looking around, lost.

DISSOLVE THROUGH TO:

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

MR. McCLEERY

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

McCLEERY is the landlord of the rooming house.  They

are climbing a flight of stairs, Mr. McCleery first,

then Ben, carrying his suitcase.

MR. McCLEERY

You a student?

BEN

Not exactly.

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

MR. McCLEERY

What's that?

BEN

I said - not exactly - no.

MR. McCLEERY

What are you then?

BEN

Well - I'm just sort of traveling

through.

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

and stops again.

MR. McCLEERY

I like to know who's living in

my house.  I like to know what

my boys are up to.

BEN

Ahhh.

Mr. McCleery just looks up at him.

BEN

I'm not up too much, actually,

I'm just visiting.  I mean -

I've always wanted to see

Berkeley.

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

MR. McCLEERY

You're not one of those agitators?

BEN

What?

MR. McCLEERY

One of those outside agitators.

BEN

Oh - no sir.

MR. McCLEERY

I hate that.  I won't stand for

it.

He looks at Ben searchingly, then turns and continues up

the stairs and down the hall.

CUT TO:

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

PAN THE ROOM in a circle, seeing a sink in one corner, a

bed, a bureau, a table, a lamp, a chair, a window that

overlooks a Berkeley street - ending in a CLOSEUP OF BEN,

standing in the middle of it, looking lost.

CUT TO:

155	EXT. WENDELL HALL - QUADRANGLE - DAWN

DAWN.  The campus is empty except for Ben who, dressed

carefully in his black suit, sits on a bench in the

quadrangle outside of Wendell Hall.

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

DAY

During which Ben remains static while the quadrangle and

thet area around him fill up with students; walking, talking,

hurrying to class, strolling, sitting, reading, handing

out petitions, etc.

157	EXT. CAMPUS BUILDING - DAY - LONG SHOT

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

direction.

158	SHOT - ELAINE

He sees her and stiffens.

159	SHOT - ELAINE

Approaching from the distance.

160	SHOT - BEN

He stands.

161	SHOT ELAINE

As she walks, she is joined by another GIRL with whom she

converses as they walk.

162	SHOT - BEN

Watching.  He takes a step forward.

163	SHOT - ELAINE AND GIRL

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

beard.

164	SHOT - BEN

He starts toward them, falters, straightens himself.

165	SHOT - ELAINE, GIRL, BOY

They are getting quite near.  Suddenly they are joined

by THREE AFRICAN EXCHANGE STUDENTS, in tribal robes.

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

166	SHOT - BEN

He looks at the massed group moving toward him, horror

taking over his face.  He starts forward.  As he passes

Elaine and her friends he seems to take a deep breath and

hold it.

She stops and slowly turns to look in his direction.  Her

companions also stop.  Ben changes his direction and

makes a circle to his left as though he has just changed

his mind.  He looks at her.  He does not stop walking.

He makes a slow circle around her as he speaks.

BEN

Elaine.  Hey - what a surprise.

(not quite looking

at her)

Say - I thought I remembered that

you were going to school up here

- well - we'll have to get together

sometime - I'll be up here myself

for a little while.

167	SHOT - BEN'S POV

Elaine and the others staring at him.

168	SHOT - BEN

BEN

- it certainly has been nice -

I think I'm late - yes, I am -

He turns and walks away from them.  They stand still

watching them go.  He starts to walk faster and faster.

They watch him as he gets further and further away and

then breaks into a run.  He disappears in the distance.

SOUND:  Footsteps running, a door opening and closing,

footsteps running upstairs, a door opening and slamming.

CUT TO:

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

Ben leans with his back against the closed door, breathing

heavily.

DISSOLVE TO:

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

Ben following and watching Elaine.

DISSOLVE TO:

171	INT. TELEGRAPH STREET RESTAURANT - DAY

Ben is sitting at a table by the window through which

we can see the street.  He is drinking a beer.  Other

tables are filled with students having animated discussions.

Ben starts to pour some beer from the bottle into the

glass.  He stops as he sees something through the window.

He leans forward.

Elaine comes out of a bookstore across the street.  She

crosses the street and moves to a bus stop.  He stands,

fumbles in his pocket for money, puts a dollar on the

table and rushes out.

172	EXT. RESTAURANT TELEGRAPH STREET - DAY

Ben comes out of the door just as Elaine gets into a bus

and the doors close behind her.

The bus starts off.  Ben runs after it.  The bus gets to

the next corner and stops for a red light.  Ben catches

up with it, runs to the front door and knocks on the

door.  The door opens and he climbs in.

173	OMITTED

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

She is seated next to an OLDER LADY by the window immediately

in front of the rear exit door.  She keeps looking out

the window, almost holding her breath as she hears:

BEN'S VOICE

(getting closer as

he moves past people

toward her)

Excuse me - I'm sorry - I

wonder if I could get by -

excuse me -

There is a pause and then, immediately behind her:

BEN'S VOICE

(cheerfully)

Well - how about this for a

coincidence.

175	NEW ANGLE

Ben's face is right behind Elaine, between her and the older

lady sitting next to her.  Ben is standing on the steps

to the rear exit door.  Elaine continues to look out the

window.

BEN

(leaning in a little)

I was wondering where you were

headed.

Elaine doesn't answer.  The lady sitting next to Elaine

takes a look at her, turns around and looks at Ben,

then looks at Elaine again.

ELAINE

I'm meeting someone.

BEN

Ah.  Where?

She doesn't answer.

BEN

Where are you meeting this person?

ELAINE

At the Zoo.

BEN

The Zoo.  They have a pretty good

one here, do they?

ELAINE

I've never been to it.

BEN

Oh.  Well, I haven't either.  I

might just ride out there with you.

Hold on them riding.

CUT TO:

176	EXT. ZOO - DAY

Ben and Elaine are walking along in front of one of the

outside animal cages.  Ben is walking a step or two behind

Elaine.  He is darting glances to the right and left.

BEN

Is that him over there?

ELAINE

No.

BEN

Where did he say he was going

to meet you?

ELAINE

I thought he said by the monkey

house.

BEN

Oh.

She stops.  Ben stops.

ELAINE

Benjamin - I would like to know

what you're doing here.

BEN

Here?  In Berkelely?

ELAINE

Yes.

BEN

Well, I have this very pleasant

room on Carter Street - and I've

been getting to some classes -

ELAINE

But you're not enrolled.

BEN

No.  I just sit in.  They don't

seem to mind.  They've been

very congenial about it.

She looks at him and starts to shake her head.

ELAINE

Benjamin - you're - I don't

know what to say - you're --

BEN

Maybe we could get together

some time and talk about it.

ELAINE

- really incredible -

BEN

Here he comes.

ELAINE

What?

BEN

I've got a real feeling that

this is the fellow.

Elaine looks.  A good-looking young man is striding

briskly toward them.  It is CARL SMITH.

CARL

(waving)

Elaine!

BEN

He certainly is a good walker.

Carl strides up to them.  He takes the pipe out of his

mouth and puts it in his pocket.  He reaches out and

takes Elaine's hands.

CARL

Am I late?  I'm sorry.

BEN

We thought you said by the

monkey house.

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

Ben smiles.

ELAINE

This is Benjamin Braddock.

Carl Smith.  Benjamin rode

here with me on the bus.

CARL

Glad to meet you, Ben.

Ben steps forward and grasps Carl's hand.

BEN

Great meeting you, Carl.

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

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

BEN

Swell seeing you.  Have a good

time.

Ben turns and starts walking back the way he came.  Carl

and Elaine turn and go in the opposite direction.  Ben

stops after a few steps and walks over to one of the

cages.  He grips the rail with his hand and looks back

at:

177	SHOT - CARL AND ELAINE

Walking away, his arm over her shoulder, his other hand

gesturing with the pipe in it as he talks.

178	SHOT - BEN

As he watches them go.  His artificial smile disappears.

The agony is such that he has to steady himself with

his hand on the rail.  He turns his face away, toward the

cage.  There is an animal in it, staring at Ben.  They

look at each other.  There is a box - an automatic device

with a recorded desciption of the animal - that begins

to deliver its RECORDED MESSAGE.

DISSOLVE TO:

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

Ben is standing by the window, looking out.

180	EXT. ROOMING HOUSE - STREET - DAY

SHOT - THROUGH THE WINDOW

Elaine is walking up the street toward the rooming house.

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

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

carefully.

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

WINDOW

Elaine turns in and disappears into the rooming house

front door below.

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

BEN

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

He goes to the window sill, picks up an empty beer can,

crosses to the bureau, opens a bureau drawer.  He crosses

to the wastepaper basket under the sink, bends down and

takes a newspaper out of it.  He crosses to the chair and

sits down.  He holds the newspaper in front of him.  It

is hopelessly crumpled.  He gets up, crosses to the

bureau, opens a drawer and takes out a traveling iron.

He kneels down, puts the newspaper on the floor and tires

to straighten it out with the iron.

There is a KNOCK on the door.  He rises, puts the iron

back in the drawer as quietly and quickly as he can,

then back to the chair, sits down and holds the newspaper

on his lap.

BEN

Come in.

There is another KNOCK.  Ben crosses to the door and opens

it.  Elaine is standing in the hall.

ELAINE

I want to ask you a question.

BEN

Come in.

ELAINE

No.  I want to know why you're

here in Berkeley?

BEN

Because - I am.

ELAINE

Is it because I'm here?

BEN

What do you think?

ELAINE

I think it is.

Ben nods.

ELAINE

I said I think it is.

BEN

All right then!  Yes!

ELAINE

Well, I want you to leave.

BEN

Elaine - I love you.

ELAINE

(looking down)

How could you do that, Benjamin?

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

ELAINE

Do you just hate everything?

How could you possibly rape

my...

BEN

What?

ELAINE

I don't understand -

BEN

Did you say rape her?

ELAINE

- how you - how anyone - could

do a thing like that.

BEN

What did she say?

ELAINE

(holding his arm)

Let me go.

BEN

You've got to tell me what she

said.

He touches her hair.

ELAINE

Why?

BEN

Because it isn't true.

ELAINE

I don't feel well.

Ben pushes her down softly onto the bed.  He kneels

along side her.

BEN

Tell me.

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

ELAINE

She said she was having a drink

in the hotel with a friend.

You waited for her in the parking

lot and told her she was too

drunk to drive home and that

you would get her a room for

the night.

BEN

Then what?

ELAINE

Then you took her upstairs and

you raped her.

BEN

Elaine - that is not what happened.

She puts her hands on his shoulder.

ELAINE

Please let me go.

BEN

All right - but listen to me.

What happened was there was

this party at my parents.  I

drove your mother home - then

we went upstairs to see your

portrait -

Elaine tightens her arms around his neck.

ELAINE

Don't tell me -

BEN

- and when we got up in the

room she starts taking her her

clothes off - and -

ELAINE

Benjamin - this is my mother!

BEN

- suddenly there she was without

any clothes on - I mean really

naked -

Ben is almost lying on top of her.  Elaine screams - a

long, loud scream.  Ben looks at her.  He leaps off

the bed and runs to the sink.  He fills a glass with

water and brings it to Elaine.  He starts toward the

door.

SOUND OF FOOTESTEPS on the stairway and in the hall.

Ben goes to the closet, opens the door, takes a jacket

from a hanger and puts it on.

SOUND:  A KNOCK on the door.

MR. McCLEERY'S VOICE

What's going on in there?

Elaine sits up and drinks the water.  Ben looks at

her then goes to the door and opens it.

BEN

Oh - hello, Mr. McCleery.

MR. McCLEERY

Who screamed?

BEN

It's all right, Mr. McCleery.

MR. McCLEERY

Screaming isn't all right.  Not

in my house it isn't.

BEN

It was just a visitor.  But it's

all right now.

Several BOYS are gathering in the hallway trying to see

into the room.  Ben edges through the door into the

hallway.

184	INT. ROOMING HOUSE HALLWAY - DAY

MR. McCLEERY

What did you do to her?

BEN

Look - she's all right.  She's

upset and she screamed.  But

she's okay now.

A BOY

Shall I get the cops?

BEN

What?

A BOY

I'll get the cops.

He starts for the stairs.

BEN

Hey - wait a minute.  Now damn

it - look.

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

BEN

See - she's just having some

water.  Now there's no need

for the cops or anything.

MR. McCLEERY

All right, boys - I think you

can get back to your rooms.  I

don't think we'll have any more

of this agitation.  Will we,

Braddock?

BEN

No, sir.

The boys start back to their rooms.  Mr. McCleery and Ben

stand and look at each other for a few seconds.

MR. McCLEERY

I want you out of here.

Mr. McCleery turns away and walks down the hall and starts

down the stairs.

BEN

Mr. McCleery?

MR. McCLEERY

You heard me.  Out of here.

BEN

What for?

MR. McCLEERY

(going down the

stairs)

Because I don't like you.

Mr. McCleery disappears down the stairs.  Ben turns and

goes back into the room.

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

Elaine is standing at the sink.  She is putting water on

her face.  Ben goes to the closet and takes out his suit-

case and carries it to the bed.

ELAINE

I'm sorry I screamed.

Ben opens the suitcase.

ELAINE

Benjamin, when you came up here,

what did you think was going to

happen between us?

BEN

Elaine - right now I don't feel

like talking much.  I'm sorry

about everything but I think I'll

just do this now.

He stands, looking into the empty suitcase.

ELAINE

Can I just sit here while you're

packing?

BEN

If you want.

Elaine sits in the chair.  She watches him as he goes to

the bureau, takes some shirts from a drawer and puts them

in the suitcase, then goes back to the bureau.  He gets

down on his knees and looks under the bureau.

ELAINE

What are you looking for?

BEN

My belt.

ELAINE

Don't you have it on?

BEN

No.  I have two.  The other one

is the one I'm looking for.

(he reaches under

the bureau)

What's this?

(he brings out a

marble)

It's from my grandmother.

ELAINE

The marble?

BEN

The belt I'm looking for was

from my grandmother.

ELAINE

Oh.

Ben takes the marble to the suitcase and packs it.

ELAINE

What are you going to do now?

BEN

I don't know.

He goes back to the bureau, gets some socks and underwear

and carries them to the suitcase.

ELAINE

Are you going home?

BEN

No.

ELAINE

Well - where are you going?

He goes back to the bureau, opens a drawer, takes out

some T-shirts and the beer can and carries them to the

suitcase.

BEN

Elaine - you're going to have to

stop asking me that.

He packs the T-shirts, then carries the beer can back to

the bureau and puts it back in the drawer, takes some

ties from the drawer and crosses to the suitcase.  Elaine

gets up, goes to the door and opens it.

ELAINE

I don't want you to leave tomorrow.

BEN

I don't understand.

ELAINE

I don't want you to go anywhere

until you have a definite plan.

BEN

But Elaine -

ELAINE

Goodbye.

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

to the window.

185A	EXT. ROOMING HOUSE STREET - DAY

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

She walks the length of the street and disappears.

DISSOLVE TO:

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

Ben asleep in his bed.  Suddenly he sits up.

187	SHOT - ELAINE

Standing in the darkness by the door.

BEN

What's happening?

He gets out of the bed.

ELAINE

Benjamin?

BEN

What?

ELAINE

(taking a step

forward)

Will you kiss me!

He goes to her and they kiss.

BEN

Will you marry me?

She shakes her head.

BEN

You won't?

ELAINE

I don't know.

BEN

But you might.

ELAINE

I might.

BEN

Is that so?  You might marry me?

ELAINE

Yes.

BEN

When?

ELAINE

I don't know.

BEN

How about tomorrow?  I don't mean

to be pushy but -

ELAINE

I don't know.  I don't know what's

happening.

BEN

You mean you're confused?

She nods.

BEN

Well - look - don't be confused.

We're getting married.

ELAINE

I don't see how we can.

BEN

We just can.

ELAINE

I have to go back now.

She goes to the door.

BEN

Elaine - are you serious about this?

ELAINE

I'll think about it.

BEN

You really will?

ELAINE

Yes.

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

door.

BEN

Well - let's get together sometime.

He closes the door.

BEN

Good God!

DISSOLVE TO:

188	INT. ROOMING HOUSE DOWNSTAIRS HALL - DAY - CLOSEUP OF

TELEGRAM

addressed to MR. BENJAMIN BRADDOCK

SOUND:  FOOTSTEPS descending stairs.  Someone WHISTLING.

The FOOTSTEPS and WHISTLING get nearer and stop.

Hands come in and pick up telegram, open the envelope

and unfold, the telegram reads:

LEAVE BERKELEY IMMEDIATELY OR

SERIOUS REPEAT SERIOUS TROUBLE

WILL RESULT.

MRS. G. L. ROBINSON

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

CUT TO:

189	EXT. CAMPUS NEAR CLASSROOM BUILDING - DAY

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

Students are moving quickly from building to building.

Ben is walking alongside Elaine.

BEN

We could go down and get our

blood tests tomorrow.

ELAINE

Tomorrow?

BEN

Or this afternoon.  It's a good

day for it.

ELAINE

Benjamin - I haven't even said

I'll marry you yet.

BEN

We'll need our Birth Certificates.

I happen to have mine with me.

Where's yours?

They move up the steps of a classroom building.  Ben

pushes through a lot of students to keep up with Elaine.

CUT TO:

190	INT. CLASSROOM BUILDING CORRIDOR - DAY

They walk down a corridor.  On each side are open doors

to classrooms with students filing into each of them.

ELAINE

I just don't think it would work.

BEN

Why wouldn't it?

A bell rings.  Elaine turns into one of the doors.  Ben

is left in the hall.  He looks around.  All the doors

in the classrooms close.  He leans against the wall.

191	ANOTHER ANGLE - BEN

Standing poised by the door.  The bell rings.  The classroom

doors open and students start to file out.  Elaine comes

out of the classroom.

BEN

Why wouldn't it?

ELAINE

I just don't think it would...

Elaine starts walking down the corridor towards the exit door.

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

CUT TO:

192-	OMITTED

193

194	INT. GYMNASIUM - DAY

Elaine and twenty other girls are in basketball uniforms.

Two teams of girls are playing basketball.  Elaine sits

on the bench, watching.  Ben stands behind her.  The girls

are shouting and clapping and jumping up and down.

BEN

Tomorrow then - can we get our

blood tests tomorrow morning?

She turns and looks at him.

ELAINE

Why don't you just drag me off

if you want to marry me so much?

BEN

Why don't I just drag you

off?  All right - I will.

Right after we get the blood

tests.

ELAINE

Well - I have to see Carl first.

BEN

Carl who?

Elaine jumps up, applauding a shot.

BEN

Carl who?

ELAINE

Carl Smith.  He's a medical

student.  We've known him

for years.

BEN

Who - that guy at the Zoo?

ELAINE

Yes.

BEN

Why do you have to see him?

ELAINE

Well -- I said I might marry him.

Elaine and several other girls run onto the court as a

number of girls run off the court to the bench.

BEN

(yelling after her)

You WHAT?

CUT TO:

195	INT. LIBRARY - DAY

Ben is seated across a study table from Elaine.  There are

many other students scattered around the room.

BEN

How did he do it?  Did he get down

on his knees?  He didn't get down

on his knees, I hope.

ELAINE

No, Benjamin.

BEN

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

ELAINE

He said he thought we'd make a pretty good team.

BEN

Oh no.  He said that.

ELAINE

Shhhh.

BEN

Where did he do it?

She starts to get up.

BEN

I'd like to know where it happened?

She starts to move away.

BEN

It wasn't in his car, was it?

CUT TO:

196	EXT. WENDELL HALL - DAY

Ben and Elaine are standing at the entrance.

BEN

Are we getting married tomorrow?

ELAINE

No.

BEN

The day after tomorrow?

ELAINE

Maybe we are and maybe we aren't.

She goes through the doorway into Wendell Hall.  Ben remains

standing in exactly the same positin.  After a few moments

the door opens and Elaine comes out, steps quickly to Ben,

kisses him, then runs back inside.  Ben turns and starts

away from the door.  The door opens again.  Ben turns back

and takes a step toward the door, smiling expectantly.  A

tall bearded MAN comes out and goes past Ben.  Ben breaks up.

CUT TO:

196A	EXT. BERKELEY STRRET - DAY

Through the window of a hippy jewelry store we see a sales-

woman modeling a ring for Ben.  He nods, she takes it off,

puts it in a box and gives it to him.  He pays for it and

exits PAST CAMERA, WHISTLING.

196B	INT. ROOMING HOUSE - DOWNSTAIRS - NIGHT

Ben enters carrying four oddly shaped boxes and some flowers.

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

Ben is whistling happily as he runs up the stairs two at a

time.  He opens the door to his room and steps in.  The room

is dark.  The figure of a MAN is silhouetted against the

window.  Ben freezes just inside the door.  There is a long

pause.

MR. ROBINSON

(clearing his throat)

Do you want - do you want to try

and tell me why you did it?

BEN

Mr. Robinson?

MR. ROBINSON

Do you have a special grudge

against me?  Do you feel a particularly

strong resentment for me?

BEN

No, it's not --

MR. ROBINSON

Is there something I've said that's

caused this contempt?  Or is it just

the things I stand for that you

despise?

BEN

It was nothing to do with you, sir.

MR. ROBINSON

Well, Ben, it was quite a bit to

do with me.

Ben takes a step forward.

BEN

Now look - please -

MR. ROBINSON

Ben, I think we're two civilized

human beings.  Do you think it's

necessary to threaten each other?

BEN

I am not threatening you.

MR. ROBINSON

Do you want to unclench your fists,

please?  Thank you.  I can see in

the dark, you know.  I've been here

quite a while.

BEN

I am trying to tell you I have no

personal feelings about you, Mr.

Robinson.  I am trying to tell

you I do not resent you.

MR. ROBINSON

You don't respect me terribly

much either, do you?

BEN

No, I don't.

MR. ROBINSON

Well, I don't think we have a

whole lot to say to each other,

Ben.  I do think you should know

the consequences of what you've

done.  I do think you should

know that my wife and I are

getting a divorce soon.

BEN

But why?

MR. ROBINSON

Why?

BEN

It shouldn't make any difference

what happened.

MR. ROBINSON

That's quite a statement.

BEN

Listen to me.  We got - we got

into bed with each other.  But

it was nothing.  It was nothing

at all.  We might - we might just

as well have been shaking hands.

MR. ROBINSON

Shaking hands.  Well, that's not

saying much for my wife, is it?

BEN

You miss the point.

MR. ROBINSON

Don't shout at me, Ben.

BEN

The point is - I don't love your

wife.  I love your daughter, sir.

MR. ROBINSON

Well - I'm sure you think you do,

Ben, but after a few times in

bed with Elaine I feel quite sure

you'd get over that as quickly

as you -

BEN

HUH?

MR. ROBINSON

I think I've talked about this

enough.  I don't know how far

I can go, Ben.  I don't know if

I can prosecute or not, but I

think maybe I can.  In the light

of what's happened I think maybe

I can get you behind bars if you

ever look at my daughter again.

I have seen Elaine and I have

spent the afternoon taking steps

to insure...

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

Ben takes a step toward him.

MR. ROBINSON

Stay away from me, Ben!

Mr. Robinson stands at the door.

MR. ROBINSON

I don't want to mince words with

you.  As far as Elaine's concerned

you're to get her out of your

filthy mind right now.  Is that

perfectly clear ro you?  That's

all, Ben.  You'll pardon me if

I don't shake hands with you.

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

MR. ROBINSON

I think you are filth.

Mr. Robinson turns back from the hall.

MR. ROBINSON

I think you are scum.

Mr. Robinson starts down the stairs.  Mr. McCleery is

standing on the stairway, listening.

MR. ROBINSON

You are a degenerate!

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

McCleery who looks up at Ben.

198	SHOT - BEN

He walks to the door, looks out into the hall at Mr.

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

and looks out.

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

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

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

He runs out of his room.

201	INT. ROOMING HOUSE HALL AND STAIRS - NIGHT

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

the pay phone.

BEN

Mr. McCleery - do you have

some change?  I need to use

the phone?

MR. McCLEERY

I want you out of here.

BEN

(takes out some

money)

Look - I'll give you ten dollars

for a dime - I'll give you

twenty - for God's sake, will

you let me use that phone?

MR. McCLEERY

I am going to call the police now.

BEN

Could I make one phone call first?

MR. McCLEERY

Get out!

Ben stuffs the money back in his pocket and runs down the

stairs and out of the building.  Through the door we see

him run down the street and out of sight.

CUT TO:

202-	OMITTED

209

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

LADY RECEPTIONIST #2

(hanging up phone)

Elaine Robinson has left the school.

CUT TO:

211	CLOSEUP - BEN

Ben reacting.

LADY RECEPTIONIST #2

Her roommate is coming down with

a note for you.

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

The elvator at the end of the hall opens and a fat GIRL

walks toward us with an envelope in her hand.  She walks

into CAMERA.

CUT TO:

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

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

being RIPPED OPEN.

ELAINE'S VOICE

(over)

Dear Benjamin - I promise you some-

say I will write a long letter about

everything but right now I can't

thank and all I can say to you is

please forgive me because I know

what I'm doing is the best thing

for you.  My father is so upset

you've got to understand.  I love

you, but it would never work out.

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

Ben's car is parked two blocks from the Robinson

house.  Ben has just left the car and is making his way to

the Robinson backyard.

215	EXT. ROBINSON BACKYARD - NIGHT

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

He looks up at Elaine's bedroom window.

BEN

(a whispered shout)

Elaine - Elaine -

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

216	ANGLE ON BEN

He moves to the back door, takes off his shoes, puts them

into his jacket pockets, tries the back door.  It opens

and he goes in.

217	INT. SUNROOM - NIGHT

There are no lights.  Ben moves through the house into the

hall and up the stairway.

218	INT. ROBINSON UPSTAIRS HALL - NIGHT

Ben goes to the door of Elaine's room and looks in.  There

is a light on in the room and the sound of someone moving

around.  He goes in.

BEN

Elaine?

219	INT. ELAINE'S ROOM - NIGHT

As Ben moves further into the room, Mrs. Robinson, carrying

some of Elaine's clothes, comes out of Elaine's closet and

moves past Ben.

MRS. ROBINSON

Hello, Benjamin.

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

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

NIGHT

Ben follows her through the hall into Mrs. Robinson's room.

BEN

Where is she?

221	MRS. ROBINSON'S ROOM - NIGHT

Mrs. Robinson, without stopping, puts Elaine's clothes

down next to a half-packed open suitcase on her bed and

moves to a telephone on the night table.  She lifts the

receiver and dials zero.  Ben follows.

MRS. ROBINSON

Hello.  Get me the police, please.

BEN

Where is Elaine?

MRS. ROBINSON

I'll be with you in a moment,

Benjamin.

(into phone)

Will you send a police car to twelve

hundred Glenview Road.  We have a

burgler here.  Just a second.  I'll

ask him.

(to Ben)

Are you armed?

(into phone)

No - I don't believe he is.  Thank

you.

She hangs up.

BEN

What have you done to her?

MRS. ROBINSON

I think we have everything quite

under control now, Benjamin.  Would

you like a quick drink before you go?

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

drink.

BEN

You can't stop me from seeing her,

Mrs. Robinson.  I'll find her.

MRS. ROBINSON

I'm sorry we won't be able to invite

you to the wedding, Benjamin, but

the arrangements have been so rushed -

BEN

What the hell have you done?

SOUND of SEVERAL CARS TURNING INTO DRIVEWAY.

MRS. ROBINSON

Ahh.  I don't think you'll have

time for that drink after all.

BEN

I'll find her.

MRS. ROBINSON

I don't think so.

The cars have reached the top of the driveway.  SOUND

of the SQUEAL of BRAKES and CAR DOORS OPENING.

222	INT. ROBINSON HALLS - NIGHT

Ben dives head first into the hall, scrambles to his

feet and runs to the back of the house.

223	EXT. ROBINSON BACKYARD - NIGHT

Ben comes through the back door,

runs to the back fence and vaults it.  Lights start to

go on in the house behind him.

224	EXT. STREET - NIGHT

Ben, driving rapidly.  He jams on the brakes and stops

the car in the middle of the street.  Cars, HONKING

move around him as he sits, staring ahead.

BEN

Wedding!  God Damn it - wedding!

People are YELLING as him from the cars going by.

MR. ROBINSON'S VOICE

Carl - I think you and Elaine will

make a good team.

CARL'S VOICE

Your father's right, Elaine.  You

and I will make a darned good team.

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

in the other direction.

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

SERIES OF SHOTS

Ben driving rapidly (left to right) past the landmarks

established on the previous drive to Berkeley.

WOMAN'S VOICE

We have two Carl Smiths.  Is it

Carl with a "C" or a "K"?

BEN'S VOICE

I'm afraid I don't know.

WOMAN'S VOICE

The Karl Smith with a "K" teaches

History of Advertising -

BEN'S VOICE

And the other?

WOMAN'S VOICE

The one with the "C", Carl Smith

Junior, is in our medical school.

He lives at Gamma Delta Tau.

226	EXT. FRATERNITY HOUSE - DAY

Ben pulls up in front of the Gamma Delta Tau house.  He gets

out of the car.  He is haggard, tired and unshaven.  The

car is mud-spattered.

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

Ben enters the hall.  Through a door can be seen a DOZEN

OR SO FRATERNITY BROTHERS seated at a table chowing down.

It is breakfast.  Ben walks into the dining room.

228	INT. FRATERNITY DINING ROOM - DAY

The fraternity brothers are eating and talking noisily.

BEN

Say - fellows -

They stop eating and turn toward him.

BEN

Do any of you fellows know where

Carl Smith is?

FRAT BROTHER #1

He took off in the middle of the

night to get married.

He goes back to his breakfast.

FRAT BROTHER #2

Proabaly one step ahead of the

shotgun.

BEN

Do you happen to know where he's

getting married?  I'm supposed to

be there.

FRAT BROTHER #2

Why don't you ask Carter?

BEN

Would you happen to know where I

might find him?

FRAT BROTHER #2

He's probably still in the sack.

He's always in the sack.

They start to laugh.

FRAT BROTHER #3

Or in the can.

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

CUT TO:

229	INT. FRATERNITY WASHROOM - DAY

A large steam-filled room with a row of FRATERNITY

BROTHERS in front of a row of sinks, brushing, combing,

shaving, etc.  Ben is standing at the door.

MAN AT SINK

Hey, Carter - where's the Make Out

King getting married?

CARTER'S VOICE

(echo sound)

Santa Barbara.

BEN

(calling in the direc-

tion of Carter's voice)

You don't happen to know exactly

where the Make Out King is

getting married, do you?  I'm

supposed to be there.

CARTER'S VOICE

I don't know.  Maybe at his old

man's home.

MAN AT SINK

You going to the wedding?

BEN

Yes.

MAN AT SINK

Give the bride a message for me.

Tell her to act surprised.

A great deal of laughter follows this gem.

CUT TO:

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

Ben driving (right to left).  The laughter from the previous

scene can still be heard for a moment.

Ben is exhausted-looking.  He opens the windows, turns the

radio on and rubs his eyes.

231	EXT. VARIOUS ROADS TO SANTA BARBARA - DAY

SEQUENCE OF SHOTS

The car, moving speedily (right to left) south on the

Highway to Santa Barbara.

232	EXT. FREEWAY EXIT AND GAS STATION - DAY

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

The car swings onto an off ramp and down to a street, turns

into a gas station and stops near the office.  Ben gets

out of the car and runs into the office.

233	INT. GAS STATION OFFICE - DAY

The clock on the office wall reads 2:05.  The gas station

ATTENDANT is sitting reading a stock car magazine.

BEN

Do you have a phone?

The attendant points.  Ben reaches for the phone book

hanging under the pay phone.

234	SHOT - BRINGING PHONE BOOK UP INTO FOCUS

The front of it says SANTA BARBARA TELEPHONE DIRECTORY.

Ben opens it to the S's.  His finger runs down to the

Smiths.  There is at least a half a page of them.

235	SHOT - THE PAGE

Ben's finger runs up and down and stops at the name:

Smith, Carl W., M.D.

236	SHOT - BEN

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

SOUND of BUZZING from the phone.  It CLICKS open.

237	SHOT - TIGHT ON BEN

WOMAN'S VOICE

657-2036

BEN

Hello - who is this?

WOMAN'S VOICE

This is Dr. Smith's answering service.

BEN

Is the doctor anywhere?

WOMAN'S VOICE

Well - you see - the doctor is at his

son's wedding, but I'm sure it's over

by now.  He should be checking in any

moment -

BEN

Listen to me.  I am Dr. Smith's

brother - Reverend Smith - and I

am supposed to perform the ceremony.

I just got in - from - Portland -

and I've forgotten what church - you

see?

238	SHOT - THE ATTENDANT

The attendant puts down his magazine and stares.

239	SHOT - TIGHT ON BEN

WOMAN'S VOICE

Oh.  Well - I'm not sure - but you

might try the First Presbyterian.

That's on Allan Street.

BEN

Thank you.

WOMAN'S VOICE

I certainly hope you -

240	SHOT - BEN

Ben hangs up the phone.  He turns to the attendant.

BEN

Allan Street.  Where is it?

ATTENDANT

(suspiciously)

Six blocks up - three blocks over.

Ben runs out of the office.  The attendant goes to the

door.

241	EXT. GAS STATION - DAY - SHOT OF BEN

getting into car.  The attendant is in the b.g.

ATTENDANT

You need any gas, Father?

BEN

I'm not a priest - I'm a minister.

The car drives out of the station.

242	EXT. SANTA BARBARA STRRET - DAY

The car comes toward us through the traffic.  It stops

in the intersection to make the turn.

243	SHOT - INT. CAR

SOUND:  THE ENGINE FAILING.  Ben looks down.

244	SHOT - THE GAS GAUGE

The needle is on "E".

245	SHOT - BEN

He pumps the gas pedal.

246	SHOT - THE CAR

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

147	SHOT - BEN

He jumps out of the car, leaving the door open, and

starts to run down the street.

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

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

249	EXT. CHURCH - WHAT HE SEES

The First Presbyterian Church.

250	EXT. STREET IN FRONT OF CHURCH - DAY (2:15 PM) - SHOT OF

BEN

Running across the street.  He stops for a moment and looks

around.  There are a number of cars parked in front of the

church.  Among them is Mrs. Robinson's car.  Ben runs by

it and up the steps to the front doors of the church.

251	EXT. CHURCH - DAY - SHOT OF BEN

He pulls at the doors.  They are locked.  Through the glass

doors, we can see to the front of the church where the

wedding ceremony is taking place.

252	EXT. SIDE OF CHURCH - DAY - SHOT OF BEN

running around the side of the church.  There are glass

windows and doors through which, as he runs, we can see

the ceremony continuing.

253	EXT. BACK OF CHURCH - DAY

Ben runs, looking for an entrance.  He goes all the way

around the church and stops at a side door.  He opens the

door and goes in.

254	INT. CHURCH - BALCONY - DAY

The balcony is between two huge windows, one of which looks

out on the lawn outside, the other looks into the interior

of the church where the ceremony is taking place.  The sun

is coming through the window.  Ben stops and looks through

the inside window.  The minister is just closing the book.

He says something and Carl and Elaine kiss.

BEN

Oh, Jesus - God - no -

He puts his hands up against the glass and slumps.  The

minister shakes hands with Carl, then takes Elaine's hand.

The ORGAN music starts to THUNDER.

BEN

(straightening)

No!

He moves to the center of the window and begins to POUND

on the glass.

BEN

Elaine - Elaine!

Ben's shadow is thrown across the celebrants.  They all

turn around and look up at him.

256	INT. CHURCH - DAY - SHOT FROM FRONT OF CHURCH

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

soundlessly.

257	SHOT - MRS. ROBINSON

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

258	SHOT - MR. ROBINSON

looking up at Ben.

259	SHOT - CARL

looking up at Ben.

260	SHOT - ELAINE

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

dazed.

261	SHOT - ALL OF THEM

Mr. Robinson, Carl, and Mrs. Robinson are moving toward

Elaine.  The ORGAN is playing LOUDLY.  Ben's voice can

be heard SHOUTING Elaine's name.  The POUNDING on the

glass can be heard.

CARL

Who is that guy?  What's he doing?

MR. ROBINSON

I'll take care of him.

MRS. ROBINSON

He's too late.

The other guests are adlibbing their confusion.

262	SHOT - ELAINE

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

come toward her.

263	CLOSEUP - ELAINE

looking at them.  ALL SOUND STOPS, except for Ben's

voice in the distance shouting "ELAIN ELAINE ELAINE."

264	ELAINE'S POV - CARL

Frozen frame.

265	ELAINE'S POV - MR. ROBINSON

Frozen frame.

266	ELAINE'S POV - MRS. ROBINSON

Frozen frame.

267	SHOT - ELAINE

Her face turning quickly to look up at Ben.

268	ELAINE'S POV - BEN

Frozen frame.  His face twisted with passion, his body

spread-eagled against the glass.

269	CLOSEUP - ELAINE

looking up at Ben.

ELAINE

(screaming)

Ben!

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

270	INT. CHURCH VESTIBULE - STAIRS - DAY - SHOT - BEN

He starts to go back down the stairs.  He reaches the

bottom of the stairs and goes through a door which leads

into the vestibule of the church.

271	INT. CHURCH VESTIBULE - DAY

Mr. Robinson is waiting for Ben, crouching, his arms spread.

Behind him is Elaine.  Ben moves toward them.  Mr. Robinson

grabs Ben around the waist.  Ben twists away.  Mr. Robinson

grabs Ben's collar and tears his jacket half off.  Ben

turns and hits Mr. Robinson in the face.  Mr. Robinson

falls down.  Ben moves to Elaine and grabs her hand.  He

pulls her toward the doors.

BEN

Come on - don't faint.

272	SHOT - THE ORGANIST

His back to the action, clawing away at the organ

obliviously.

273	SHOT - THE DOOR

A man in clerical garb is guarding the door.  Ben and

Elaine move toward the door.

BEN

Out of my way!

Carl steps in and grabs Ben from behind.  Ben breaks

Carl's hold and picks up a gold cross off a nearby stand.

He begins to swing it, advancing toward Carl.  Carl

backs up toward the other guests.

274	NEW ANGLE

Mrs. Robinson steps to Elaine.  She reaches out and takes

Elaine's wrist.

MRS. ROBINSON

Elaine - it's too late.

Elaine pulls her hand away.

ELAINE

Not for me.

275	SHOT BEN

He turns toward the man standing in front of the door and

raises the cross over his head.

BEN

MOVE!

The man moves away from the door.  Elaine steps forward

and opens the door.  She and Ben go out.

276	EXT. FRONT OF CHURCH - DAY

Ben jams the cross through the handles of the door.  He

grabs Elaine's wrist.

BEN

Run, Elaine, run!

They start to run.  Elaine trips and falls.  Ben helps her

up and they continue to run.

277	INT. CHURCH VESTIBULE - DAY

From inside the church vestibule.  Through the glass

doors, we can see Elaine and Ben running down the street.

The wedding party members are tugging furiously at the

jammed doors.  Mrs. Robinson turns toward us and calmly

begins to put on her gloves.

278	EXT. STREET IN FRONT OF CHURCH - DAY

Ben and Elaine running along the sidewalk.  Ben holds

her hand and is pulling her.  She still holds her

flowers.  They run to a bus that is just closing its

doors.

279	SHOT - BEN

He bangs on the closed door of the bus.  The door opens.

Ben climbs the step into the bus and pulls Elaine up

after him.  The doors close.

280	INT. BUS NO. 2 - DAY - SHOT OF BEN, ELAINE AND DRIVER

Ben holds out a dollar bill.

BEN

How much?

DRIVER

Where do you want to go?

BEN

To the end.

The driver takes the bill and gives Ben some change.

Ben turns and pulls Elaine along to the back of the bus.

He pushes her into one of the seats and sits beside

her.  Ben looks toward the front of the bus.

281	BEN'S POV

He sees the driver and the passengers, all turned around

in their seats and looking back at them.

282	SHOT - BEN

BEN

Let's go.  Let's get this bus

moving!

283	SHOT - THE DRIVER

He turns and starts the bus.

284	SHOT - BEN AND ELAINE

They are breathing heavily.

ELAINE

Benjamin?

BEN

What?

She takes his hand.

285	EXT. STREET IN FRONT OF CHURCH - DAY

Through the window in the back of the bus the church can

be seen receding in the distance.  There seem to be a

number of men dressed in black running around in the

street in front of it.

FADE OUT

THE END