The Internet Movie Script Database (IMSDb)


The web's largest
movie script resource!

Search IMSDb

Alphabetical
# A B C D E F G H
I J K L M N O P Q
R S T U V W X Y Z

Genre
Action Adventure Animation
Comedy Crime Drama
Family Fantasy Film-Noir
Horror Musical Mystery
Romance Sci-Fi Short
Thriller War Western

Sponsor

TV Transcripts
Futurama
Seinfeld
South Park
Stargate SG-1
Lost
The 4400

Movie Software
DVD ripper software offer
Rip from DVD
Rip Blu-Ray

Latest Comments
Incredibles, The10/10
Scarface10/10
Good Girl, The10/10
Rocky10/10
Bridesmaids4/10

Movie Chat



ALL SCRIPTS





THE GRADUATE










				"THE GRADUATE"


				Screenplay by

				 Buck Henry




				Prod. No. 20055



				 FINAL DRAFT











March 29, 1967						Property of:

							Lawrence Turman, Inc.
							Mike Nichols
							5451 Marathon St.
							Hollywood, California


------------------------------------------------------------------------------------

1	EXT. AMPHITHEATRE - DAY
	SHOT - HELICOPTER'S POV - 

	Moving through clouds.  The clouds separate and, far below, we can
	see a giant outdoor amphitheatre.  There is no SOUND but the WIND.
	As we move closer to the amphitheatre, we can hear SNATCHES OF WORDS
	and PHRASES as though from a public address system.

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

	in cap and gown, standing in front of a microphone.  The WIND is
	BLOWING.  He has to hold on to the papers from which he is reading.

3	EXT. AMPHITHEATRE - SHOT OF AUDIENCE - DAY

	Thousands of expressionless STUDENTS are sitting there.

4	EXT. AMPHITHEATRE - SHOT OF PODIUM - DAY

				BEN
		- and today it is right that we
		should ask ourselves the one most
		important question: What is the
		purpose of these years, the purpose
		for all this demanding work,
		the purpose for the sacrifices
		made those who love us?  Were
		there NOT a purpose, then all of
		these past years of struggle, of
		fierce competition and of uncom-
		promising ambition would be mean-
		ingless.  But, of course, there
		is a purpose and I must tell it
		to you.  I ask you to remember
		this purpose always and I pledge
		that I shall endeavor to carry it
		with me forever.

5	SHOT - AMPHITHEATRE AUDIENCE - DAY

	staring at him impassively.

6	INTERCUT BETWEEN SHOTS

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

7	EXT. PODIUM OF AMPHITHEATRE - DAY

				BEN
			(continuing)
		The purpose, my fellow graduates - 
		the purpose is -

	He stops, trying to think of the word.

8	CLOSEUP - BEN

	He begins to sweat.

9	SHOT - AMPHITHEATRE AUDIENCE

	watching.

10	SHOT - PODIUM of AMPHITHEATRE

	Ben's hands searching through the pages of his speech.
	The pages begin to blow away in the wind.

11	SHOT - AMPHITHEATRE AUDIENCE - DAY

	staring.

12	SHOT - PODIUM OF AMPHITHEATRE - DAY

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

13	CLOSEUP - BEN

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

14	SHOT - AMPHITHEATRE - DAY

	The audience is gone.

15	SHOT - PODIUM OF AMPHITHEATRE - DAY

				BEN
		- the reason is - the purpose is -

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

16	SHOT - AMPHITHEATRE - DAY

	Huge and empty.  SOUND of AIRCRAFT.

				CAPTAIN'S VOICE

		Ladies and gentlemen, we are about
		to begin our descent into Los Angeles -

	SOUND of a SONIC BOOM.

								CUT TO:

17	INT. PLANE - CLOSEUP - BEN - NIGHT

	His eyes open suddenly.

				CAPTAIN'S VOICE
		The sound you have just heard is the
		landing gear locking into place.  The
		Los Angeles weather is clear and the
		temperature is a pleasant 72.  We do
		not expect any traffic delay and will
		make our four hour and eighteen minute
		flight plan smack on the nose.  We
		enjoyed having you on board and look
		forward to seeing you again in the near
		future.

18	SHOT

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

19	REVERSE ANGLE

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

20	EXT. LOS ANGELES - FROM THE AIR - NIGHT

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

	SOUND - MUZAC and the STEWARDESS' LANDING SPEECH.

	START OF MAIN TITLES

	UNDER titles:

				STEWARDESS' VOICE
		Ladies and gentlemen please fasten your
		seat belts in preparation for the landing
		and observe the no smoking sign.  After
		we land, you will notice an increase in
		the sound level as the thrust of the engines
		is reversed to help reduce forward speed.

21	INT. AIRPORT - MOVING SIDEWALK - NIGHT

	Ben and the other passengers on the automatic sidewalk.

				MAN'S VOICE
		Your attention, please!  American Airlines
		Flight Number 4, 21 Club service, non-stop
		to New York is now leaving from Gate
		Number 40.  All aboard, please.

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

	His eyes are open and he is trying to remember something.
	There are the SOUNDS of many people TALKING and LAUGHING
	in other rooms.  A RADIO nearby PLAYS MUSIC.  After a
	while, there is the SOUND of a DOOR OPENING.  The SOUNDS
	of the people TALKING are lower.  MRS. TERHUNE'S voice
	can be heard among them.

				MRS. TERHUNE'S VOICE

		-- associate editor of the college
		newspaper in his junior year - 
		managing editor in his senior
		year -

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

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

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

				MR. BRADDOCK'S VOICE
		What's the matter?

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

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

				BEN
		Look, Dad - could you explain to
		them that I have to be alone for
		a while?

				MR. BRADDOCK'S VOICE
		These are all our good friends,
		Ben.  Most of them have known you
		since - well - practically since
		you were born.

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

				MR. BRADDOCK'S VOICE
		What is it, Ben?

	The CAMERA BEGINS TO PULL BACK SLOWLY.

				BEN
		I'm just - 

				MR. BRADDOCK
		- worried?

				BEN
		Well - 

				MR. BRADDOCK
		About what?

				Ben
		I guess - about my future.

				MR. BRADDOCK
		What about it?

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

				MR. BRADDOCK
		To be what?

				BEN
			(quietly)
		Different.

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

				MRS. BRADDOCK
		Is anything wrong?

				MR. BRADDOCK
		No!  No - we're just on our way
		downstairs!

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

				MRS. BRADDOCK
		The Carlsons' are here.

				MR. BRADDOCK
			(to Mrs. Braddock)
		They are?
			(to Ben)
		Come on.

	Mr. Braddock puts the jacket on Ben.

				MRS. BRADDOCK
		They came all the way from
		Tarzana.

				MR. BRADDOCK
		It's a wonderful thing to have
		so many devoted friends.

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

29	INT. HALLS AND STAIRWAY - NIGHT

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

				MR. CARLSON
		Hey - there's our award winning
		scholar.

				MRS. CARLSON
		We're all very proud of you,
		Ben.

				BEN
		Thank you, Mrs. Carlson.

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

				MR. BRADDOCK
		That's Ben's graduation present.

				MR. CARLSON
			(putting his arm
			across Ben's shoulder)
		Won't have much trouble picking
		them up in that, will you?

				BEN
		Sir?

				MR. CARLSON
		The girls.  The chicks.  The -
		the teeny boppers.

				MRS. CARLSON
		I think Ben has gotten beyond
		the teeny bopper stage - haven't
		you, Ben?

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

				BEN
		Yes, ma'am.

	They reach the hall at the bottom of the stairs.

				BEN
		Excuse me - I think I'd just
		like to check something on
		the car for a minute -

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

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

				BEN
		Just fine, Mr. Loomis.

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

				MR. LOOMIS
		I want to get a drink and then
		I want to hear all about that
		thing you won.  That Hopperman
		award.

				BEN
		Helpingham.

				MR. LOOMIS
		Helpingham!  Right!  Now you
		wait right here.

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

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

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

				LADY 3
		What are you going to do now?

				BEN
		I was going to go upstairs for a
		minute -

				LADY 3
		No - I meant with your future.

				LADY 2
		With your life.

				BEN
		Well - that's a little hard to say -

	MR. MCQUIRE appears behind Ben.

				MR. MCQUIRE
		Ben!

				Ben
			(to the ladies)
		Excuse me.
			(he turns around)
		Mr. McQuire

				MR. MCQUIRE
			(overwhelmed with pride)
		Ben.

				BEN
		Mr. McQuire.

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

30	EXT. BRADDOCK BACKYARD AND POOL AREA - NIGHT

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

				MR. MCQUIRE
		Ben - I just want to say one word to
		you - just one word -

				BEN
		Yes, sir.

				MR. MCQUIRE
		Are you listening?

				BEN
		Yes I am.

				MR. MCQUIRE
			(gravely)
		Plastics.

	They look at each other for a moment.

				BEN
		Exactly how do you mean?

				MR. MCQUIRE
		There is a great future in plastics.
		Think about it.  Will you think
		about it?

				BEN
		Yes, I will.

				MR. MCQUIRE
		Okay.  Enough said.  That's a deal.

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

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

				BEN
		Excuse me just a minute -

	Ben goes into the house through the back door.

31	EXT. BRADDOCK BACKYARD AND POOL AREA - NIGHT

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

	SOUND of a door SLAMMING.

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

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

32A	SHOT - LONG SHOT (Location)

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

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

				BEN
		It's down the hall.

	They stand for a moment, loocking at each other.

				MRS. ROBINSON
		How are you, Benjamin?

				BEN
		Fine, thank you.  The bathroom is
		down at the end of the hall.

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

				BEN
		Look, Mrs. Robinson, I don't
		mean to be rude but -

	Mrs. Robinson takes a cigarette from her purse and
	lights it.

				MRS. ROBINSON
		Is there an ashtray in here?

				BEN
		No.
				MRS. ROBINSON
		Oh - I forgot.  The track star
		doesn't smoke.

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

				MRS. ROBINSON
		Is it a girl?

				BEN
		Is what a girl?

				MRS. ROBINSON
		Whatever it is you're upset
		about.

				BEN
		Oh - no.  I'm just sort of
		disturbed about things.

				MRS. ROBINSON
		In general.

				BEN
		That's right.

	There is a long pause.

				MRS. ROBINSON
		Benjamin, I want to ask you
		something.

				BEN
		What?

				MRS. ROBINSON
		Will you take me home?

				BEN
		What?

				MRS. ROBINSON
		My husband took the car.  Will
		you drive me home?

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

				BEN
		Here - you take it.

	Mrs. Robinson looks at him.

				BEN
		Do you know how to work a
		foreign shift?

	Mrs. Robinson shakes her head.

				BEN
		You don't?

				MRS. ROBINSON
		No.
			(there is a pause)

				BEN
		Let's go.

	She throws the keys to him.  He catches them.

								CUT TO:

33	EXT. BRADDOCK HOUSE - NIGHT

	SHOOTING THROUGH THE OPEN FRONT DOOR.  Mr. Braddock is
	talking to the Terhunes at the door.  Ben and Mrs.
	Robinson come down the hall.

				BEN
		Dad - Mrs. Robinson needs a ride
		home.  I'll be right back.

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

				MRS. ROBINSON
			(as she passes the
			CAMERA)
		Wonderful party.

								CUT TO:

34	OMITTED

35	EXT. ROBINSON HOUSE - NIGHT

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

				MRS. ROBINSON
		Thank you.

				BEN
		Right.

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

				MRS. ROBINSON
		Will you come in, please?

				BEN
		What?

				MRS. ROBINSON
		I want you to come in till I get
		the lights on.

				BEN
		What for?

				MRS. ROBINSON
		Because I don't feel safe until
		I get the lights on.

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

36	INT. ROBINSON HALL AND SUNROOM - NIGHT

				MRS. ROBINSON
		Would you mind walking ahead of
		me to the sun porch.  I feel
		funny about coming into a dark
		house.

				BEN
		But it's light in there now.

				MRS. ROBINSON
		Please.

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

				MRS. ROBINSON
		What do you drink?  Bourbon?

				BEN
		Look - I drove you home.  I was
		glad to do it.  But I have some
		things on my mind.  Can you
		understand that?

	She nods.

				BEN
		All right then.

				MRS. ROBINSON
		What do you drink?

	He looks at her.

				MRS. ROBINSON
		Benjamin - I'm sorry to be this
		way, but I don't want to be
		alone in this house.

				BEN
		Why not?

				MRS. ROBINSON
		Please wait till my husband
		gets home.

				BEN
		When is he coming back?

				MRS. ROBINSON
		I don't know.

	She pours herself a drink.

				MRS. ROBINSON
		Drink?

				BEN
		No.

	She hands him a drink.  There is a pause.

				BEN
		Are you always this much afraid
		of being alone?

				MRS. ROBINSON
		Yes.

				BEN
		Well, why can't you just lock
		the doors and go to bed?

				MRS. ROBINSON
		I'm very nuerotic.

	She turns on the phonograph.  SOUND of PHONOGRAPH.

				MRS. ROBINSON
		May I ask you a question?

	Ben looks at her.

				MRS. ROBINSON
		What do you think of me?

				BEN
		What do you mean?

				MRS. ROBINSON
		You've known me nearly all of
		your life.  You must have
		formed some opinion.

				BEN
		Well - I've always thought
		that you were a very - nice -
		person.

				MRS. ROBINSON
		Did you know I was an alcoholic?

				BEN
		What?

				MRS. ROBINSON
		Did you know that?

				BEN
		Look - I think I should be
		going -

				MRS. ROBINSON
		Sit down, Benjamin.

				BEN
		Mrs. Robinson - if you don't
		mind my saying so - this
		conversation is getting a
		little strange.  Now I'm sure
		that Mr. Robinson will be here
		any minute and -

				MRS. ROBINSON
		No.

				BEN
		What?

				MRS. ROBINSON
		My husband will be back quite
		late.

	They look at each other.  Ben is half standing.

				MRS. ROBINSON
		He should be gone for several
		hours.

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

				BEN
		Oh my God.

				MRS. ROBINSON
		Pardon?

				BEN
		Oh no, Mrs. Robinson, oh no.

				MRS. ROBINSON
		What's wrong?

				BEN
		Mrs. Robinson, you didn't -
		I mean you didn't expect -

				MRS. ROBINSON
		What?

				BEN
		I mean - you didn't really
		think that I would do something
		like that.

				MRS. ROBINSON
		Like what?

				BEN
		What do you think?

				MRS. ROBINSON
		Well I don't know.

				BEN
		For God's sake, Mrs. Robinson,
		here we are, you've got me into
		your house.  You give me a
		drink.  You put on music, now
		you start opening up your
		personal life to me and tell
		me your husband won't be home
		for hours.

				MRS. ROBINSON
		So?

				BEN
		Mrs. Robinson - you are trying
		to seduce me.

	There is a pause.  She looks at him.

				BEN
			(weaker)
		Aren't you?

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

				BEN
		Mrs. Robinson, will you forgive
		me for what I just said?

				MRS. ROBINSON
		It's all right.

				BEN
		It's not all right, it's the
		worst thing I've ever said
		to anyone.

				MRS. ROBINSON
		Sit down.

				BEN
		Please forgive me.  Because I
		like you.  I don't think of you
		that way.  But I'm mixed up.

				MRS. ROBINSON
		All right.  Now finish your drink.

				BEN
		Mrs. Robinson, it makes me sick
		that I said that to you.

				MRS. ROBINSON
		We'll forget it right now.
		Finish your drink.

				BEN
		What is wrong with me?

				MRS. ROBINSON
		Have you ever seen Elaine's
		portrait?

				BEN
		Her portrait?

				MRS. ROBINSON
		Yes.

				BEN
		No.

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

				BEN
		Very much.

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

37	INT. ELAINE'S ROOM - NIGHT

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

				BEN
		Elaine certainly is an
		attractive girl, isn't she?

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

				BEN
			(looking at the
			portrait)
		I don't remember her as having
		brown eyes.

				MRS. ROBINSON
		Benjamin?

				BEN
		Yes?

				MRS. ROBINSON
		Will you unzip my dress?

	He steps back.

				MRS. ROBINSON
		I think I'll go to bed.

				BEN
		Oh.  Well, goodnight.

				MRS. ROBINSON
		Won't you unzip my dress?

				BEN
		I'd rather not, Mrs. Robinson.

				MRS. ROBINSON
		If you still think I'm trying
		to seduce you -

				BEN
		No, I don't.  But I just feel
		a little funny.

				MRS. ROBINSON
		Benjamin - you've known me all
		your life.

				BEN
		I know that.  But I'm -

				MRS. ROBINSON
		Come on.

	She turns her back.

				MRS. ROBINSON
		It's hard for me to reach.

	Ben reaches forward and pulls the zipper down.

				MRS. ROBINSON
		Thank you.

				BEN
		Right.

	Ben walks toward the door.

				MRS. ROBINSON
		What are you so scared of?

				BEN
		I'm not scared, Mrs. Robinson.

				MRS. ROBINSON
		Then why do you keep running
		away?

				BEN
		Because you're going to bed.  I
		don't think I should be up here.

	Mrs. Robinson lets her dress fall to the floor.

				MRS. ROBINSON
		Haven't you ever seen anybody
		in a slip before?

				BEN
		Yes, I have -

	He looks up at the portrait of Elaine.

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

				MRS. ROBINSON
		What if he did?

				BEN
		Well, it would look pretty
		funny, wouldn't it?

				MRS. ROBINSON
		Don't you think he trusts us
		together?

				BEN
		Of course he does.  But he
		might get the wrong idea.
		Anyone might.

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

				BEN
		But they would!  Don't you see?

				MRS. ROBINSON
		Benjamin - I'm not trying to
		seduce you.  I wish you'd -

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

				MRS. ROBINSON
		Why is it?

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

				MRS. ROBINSON
		Would you like me to seduce you?

				BEN
		What?

				MRS. ROBINSON
		Is that what you're trying to
		tell me?

				BEN
		I'm going home now.  I apologize
		for what I said.  I hope you can
		forget it.  But I'm going home
		right now.

	Benjamin walks out of the door and down the hall.  The
	CAMERA PUSHES with him to the door.  We see the entire
	stairway and part of the downstairs hall.  Ben gets to
	the stairs and starts down.

				MRS. ROBINSON'S VOICE
		BENJAMIN?

				BEN
		Yes.

				MRS. ROBINSON'S VOICE
		Will you bring up my purse before
		you go?

				BEN
		I have to go now.  I'm sorry.

	Mrs. Robinson walks into the hall.  Her back is to us.
	She is holding her dress in front of her.

				MRS. ROBINSON
		I really don't want to put this
		on again.  Won't you bring it
		up?

				BEN
		Where is it?

				MRS. ROBINSON
		On that chair in the hall.

	She walks out of the shot.

				BEN
		Mrs. Robinson?

				MRS. ROBINSON'S VOICE
		I'm in the bathroom.

				BEN
		Well here's the purse.

				MRS. ROBINSON'S VOICE
		Could you bring it up?

				BEN
		Well I'll hand it to you.

	Ben starts back up the stairs.

				BEN
		Come to the railing and I'll
		hand it up.

				MRS. ROBINSON'S VOICE
		Benjamin - I am getting pretty
		tired of all this suspicion.
		Now if you won't do me a simple
		favor I don't know what.

	Ben appears as he slowly climbs the stairs.

				BEN
		I'm putting it on the top step.

				MRS. ROBINSON'S VOICE
		For God's sake, Benjamin, will
		you stop acting that way and
		bring me the purse?

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

				BEN
		I'm putting it here by the door.

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

				BEN
		I'd rather not.

				MRS. ROBINSON'S VOICE
		All right.  Put it in the room
		where we were.

				BEN
		Right.

38	INT. ELAINE'S ROOM - NIGHT

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

				BEN
		Oh God.

	She smiles.

				BEN
		Let me out.

	She turns the lock on the door.

				MRS. ROBINSON
		Don't be nervous.

				BEN
		Get away from that door.

				MRS. ROBINSON
		I want to say something first.

				BEN
		Jesus Christ!

				MRS. ROBINSON
		Benjamin - I want you to know
		I'm available to you.  If you
		won't sleep with me this time -

				BEN
		Oh my God.

				MRS. ROBINSON
		If you won't sleep with me this
		time, Benjamin, I want you to
		know you can call me up any
		time you want and we'll make
		some kind of arrangement.

				BEN
		Let me out!

				MRS. ROBINSON
		Do you understand what I said?

				BEN
		Yes.  Yes.  Let me out!

				MRS. ROBINSON
		Because I find you very attractive
		and any time -

	There is the SOUND of a CAR in the driveway outside.
	Ben leaps at the door, pushes Mrs. Robinson aside,
	struggles with the door, gets the door open, runs into
	the hall and down the stairs.

39	INT. SUNROOM - NIGHT

	Ben rushes into the sunroom and sits down.  SOUND of
	FOOTSTEPS on the driveway outside.  Ben jumps up, gets
	the glass he had been drinking from and sits down again.
	SOUND of the front door OPENING and CLOSING.

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

				BEN
			(jumping up)
		Yes, sir!

	FOOTSTEPS approach the sunroom.  MR. ROBINSON enters.

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

				MR. ROBINSON
		Swell.  I appreciate it.

				BEN
		She's upstairs.  She wanted me
		to wait down here till you got
		home.

				MR. ROBINSON
		Standing guard over the old
		castle, are you?

				BEN
		Yes, sir.

	Mr. Robinson reaches for Ben's glass.

				MR. ROBINSON
		Here.  It looks like you need
		a refill.

				BEN
		Oh no.

				MR. ROBINSON
		What?

				BEN
		I've got to go.

				MR. ROBINSON
		Is anything wrong?  You look
		a little shaken up.

				BEN
		No.  No - I'm just - I'm just
		a little worried about my
		future.  I'm a little upset
		about my future.

	Mr. Robinson takes the glass from him.

				MR. ROBINSON
		Come on.  Let's have a nightcap
		together.

	Mr. Robinson turns his back to Ben to mix the drinks.
	Ben takes several deep breaths, straightens his tie
	and checks to see if his fly is okay.  Mr. Robinson
	turns and brings him the drink.

				BEN
		Thank you very much, sir.

				MR. ROBINSON
		Ben - how old are you now?

				BEN
		Twenty.  I'll be twenty-one
		next week.

				MR. ROBINSON
			(taking out a
			cigarette)
		That's a hell of a good age
		to be.

				BEN
		Thank you.

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

				BEN
		Sir?

				MR. ROBINSON
		You'll never be young again.

				BEN
		I know.

				MR. ROBINSON
		Ben, can I say something to
		you?

				BEN
		What?

				MR. ROBINSON
		How long have we known each
		other now?

	Ben shakes his head.

				MR. ROBINSON
		How long have you and I known
		each other?  How long have
		your Dad and I been partners?

				BEN
		Quite a while.

				MR. ROBINSON
		I've watched you grow up, Ben.

				BEN
		Yes, sir.

				MR. ROBINSON
		In many ways I feel as though
		you were my own son.

				BEN
		Thank you.

				MR. ROBINSON
		So I hope you won't mind my
		giving you a friendly piece
		of advice.

				BEN
		I'd like to hear it.

				MR. ROBINSON
		Ben - I think - I think you
		ought to be taking it a little
		easier right now than you seem
		to.

	Ben nods.

				MR. ROBINSON
		Sow a few wild oats.  Take things
		as they come.  Have a good time
		with the girls and so forth.

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

				MRS. ROBINSON
		Don't get up.

	Ben sits.

				MR. ROBINSON
		I was just telling Ben here he
		ought to sow a few wild oats.
		Have a good time while he can.
		You think that's sound advice?

	Mrs. Robinson nods.

				MRS. ROBINSON
		Yes, I do.

				BEN
		I've got to go.

	He stands.  Mr. Robinson stands up with him.

				MR. ROBINSON
		You have yourself a few flings
		this summer.  I bet you're
		quite a ladies' man.

				BEN
		Oh no.

				MR. ROBINSON
		What?  You look like the kind
		of guy that has to fight them
		off.
			(to Mrs. Robinson)
		Doesn't he look to you like
		the kind of guy who has to
		fight them off?

				MRS. ROBINSON
		Yes, he does.

	They start out of the sunroom.

40	INT. ROBINSON HALL - NIGHT

				MR. ROBINSON
		Oh say - Elaine gets down from
		Berkeley on Saturday.

				BEN
		Oh yes.

				MR. ROBINSON
		Ben - I want you to give her a
		call.

				BEN
		I will.

				MR. ROBINSON
		Great.

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

41	EXT. ROBINSON HOUSE - NIGHT

	SHOOTING OVER THE CAR toward the house.  Ben comes toward
	the car.  Mrs. Robinson appears in the doorway; the light
	behind her makes it difficult to see her face.
				MRS. ROBINSON
		Benjamin?

				BEN
		Yes.

				MRS. ROBINSON
		Thank you for taking me home.

	Ben nods.

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

	Ben continues to walk toward us.

				MR. BRADDOCK'S VOICE
		Ladies and gentlemen - your
		attention, please - for this after-
		noon's feature attraction.

								CUT TO:

42	EXT. BRADDOCK BACKYARD AND POOL AREA - DAY

	The sun shines brightly.  Standing and sitting around
	the pool are Mr. and Mrs. Braddock, their friends MR.
	and MRS. ARNOLD, and the Arnold children, PETER and
	LOUISE, who are eight or nine.  Watching from across the
	fence on one side of the house: the young girl from next
	door and her boy friend.  Across the fence on the other
	side of the house: a quartet of adults, formally dressed
	as though for a cocktail party, holding drinks and watch-
	ing.  One of them holds a baby.  The Braddocks, the
	Arnolds and their children are dressed in California
	Contemporary Sport Style: the adults in styles infinitely
	too young for them, the children in styles infinitely too
	old for them.

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

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

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

				MR. BRADDOCK
		Are you ready in there, feature
		attraction?

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

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

				MR. BRADDOCK
		- what was I saying?

				MRS. ARNOLD
		Feature attraction.

				MR. BRADDOCK
		Right.  Hey - I'm glad to see
		you're paying attention.  A
		feature attraction that will be
		one of the most astounding
		events ever to take place in
		this particular backyard.

	They all laugh and some applaud.

				MR. BRADDOCK
		Now I'm going to ask for a big
		round of applause to bring this
		boy out here - wait a minute -
		let me amend that - to bring
		this young man out here - because
		today he is twenty-one-years-
		old -

				MR. ARNOLD
			(his hands like
			a megaphone)
		Let's get on with the show!

				MR. BRADDOCK
		Just hang on a minute because
		I have a few words to say -

				MR. ARNOLD
		You always do.

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

				BEN'S VOICE
		Dad - could we just talk about
		this for a second?

				MR. BRADDOCK
		Twenty-one-years-old, ladies
		and gentlemen; four of those
		years spent accomplishing some
		rather extraordinary things at
		one of our nation's leading
		seats of learning -

				MR. ARNOLD
		Bring him out!

				PETER AND LOUISE
		On with the show!  On with the
		show!

				MR. BRADDOCK
			(to the window)
		I can't hold them much longer,
		Ben.  You better get out here.

				BEN'S VOICE
		I'd like to discuss this.

				MR. BRADDOCK
			(to his audience)
		This boy - I'm sorry - this
		young man - is soon to continue
		his education as a Frank Halping-
		ham Award Scholar - but before
		he does -

	Mr. Braddock darts back to the window.

				MR. BRADDOCK
		- before he does -
			(to the window)
		You're disappointing them, Ben.
		You're disappointing them.

				BEN'S VOICE
		Dad - can you listen -

				MR. BRADDOCK
			(meaning it)
		I'll give you ten seconds.
			(back to the
			people)
		He is going to give us a
		practical demonstration of
		what I feel safe in saying is
		a pretty exciting birthday
		present - and it better work
		or I'm out over two hundred
		bucks - so let's hear it for -

	Mr. Braddock moves to the screen door and pushes it open.
	It slams against the wall inside.

				MR. BRADDOCK
		- Benjamin Braddock!

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

	At the back of the hall, inside the house, stands Ben,
	dressed in a full length skin diver's wet suit, flippers
	on his feet, the oxygen tank strapped to his back, the
	mask pushed up his forehead, the air hose dangling.
	He holds a spear gun in his hand.

	The people applaud.

45	EXT BRADDOCK BACKYARD AND POOL AREA - DAY
	SHOT - FROM BEN'S POV

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

				MR. BRADDOCK
		Folks - this remarkable young
		man is going to perform for you
		some spectacular and amazing
		feats of daring in water that is
		over six feet deep -

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

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

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

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

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

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

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

46	EXT. BRADDOCK BACKYARD AND POOL AREA - DAY
	OVERHEAD SHOT (HELICOPTER POV)

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

	PULL UP AND UP AND UP

	Until there are thirty houses below us, with its owners,
	swimming, playing, eating, cooking, reading, dancing,
	sunbathing, constructing and gardening around thirty pools.
	SOUND of Ben's BREATHING APPARATUS, fading into the SOUND
	of the WIND.

	Hold for a few seconds, then:

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

								DISSOLVE TO:

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

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

				MRS. ROBINSON'S VOICE
		Hello.

				BEN
		Mrs. Robinson - I don't quite
		know how to put this -

				MRS. ROBINSON'S VOICE
		Benjamin?

				BEN
		Look - I was thinking about that
		time after the party -

				MRS. ROBINSON'S VOICE
		Where are you?

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

				MRS. ROBINSON'S VOICE
		Where are you?

				BEN
		Uh - The Taft Hotel.

				MRS. ROBINSON'S VOICE
		Did you get a room?

				BEN
		No.  Now I know it's pretty
		late and if you'd rather -

				MRS. ROBINSON'S VOICE
		Give me an hour.

				BEN
		What?

				MRS. ROBINSON'S VOICE
		I'll be there in an hour.

	SOUND of her HANGING UP.  Ben hangs up slowly.
	He stands up in the booth, looks around, moves about
	uncomfortably for a few moments, removes his jacket and
	carrying it folded across his arm in front of him,
	leaves the phone booth and crosses to the doors that
	lead to the main lobby.  As he is about to go in, the
	doors open and a group of VERY OLD PEOPLE start coming
	out, filling the doorway and moving very slowly, muttering
	to each other and helping each other out of the door and
	down the steps.  Ben holds one of the doors open for them
	and stands politely to one side.  As they get through,
	Ben starts to move inside.  At that moment, A DOZEN YOUNG
	PEOPLE, dressed as though for a high school dance, push
	him to one side and move past him into the lobby.  He
	moves back against the other door, holding it open and
	allowing them to go in first.  He smiles politely and they
	pay no attention to him at all.  He follows them into the
	lobby.  They move toward the front desk and he moves with
	them.  One of the boys at the front of the group leans in
	and says something to the CLERK behind the desk.

	The clerk points across the lobby and says something to
	him.  There are the SOUNDS of an orchestra PLAYING some-
	where.  The group of young people passes by the desk
	and Ben moves in behind them.  He pauses at the desk and
	looks apprehensively at the hundreds of pigeon holes against
	the wall with the room numbers painted under them and the
	keys dangling suggestively.

				ROOM CLERK
		Can I help you, sir!

				BEN
		What?  Oh - no - I'm just -

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

				ROOM CLERK
		Are you here for an affair,
		sir?

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

				BEN
		What?

				ROOM CLERK
		The Singleman party, sir?

				BEN
		Oh - yes.  The Singleman party.

				ROOM CLERK
		It's in the main ballroom.

				BEN
		Ahh - thank you.

	Ben backs off and turns and starts across the lobby.
	He puts on his jacket as he goes.  He gets to the entrance
	to the main ballroom.  He pauses at the door, looks in.

	What he sees:  People dancing, talking, sitting, etc.
	He turns back toward te lobby.  He stops.

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

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

48	INT. BALLROOM - NIGHT

	As Ben steps inside.

				VOICE
		Hello.

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

				BEN
		Hello.

	It is the older lady who has said hello.

				MRS. SINGLEMAN
		You must be one of the Porters.

	She grasps Ben's hand and shakes it.

				BEN
		No - actually I'm not -

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

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

				MISS DeWITTE
		How do you do?

				BEN
		How do you do, Miss DeWitte?

				MRS. SINGLEMAN
		- and my husband, Mr. Singleman -

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

				BEN
			(apologetically)
		Oh - sorry -

				JEFFREY SINGLEMAN
		Fine, thank you.

				MRS. SINGLEMAN
		That's Jeffrey, of course.

	Ben switches to Mr. Singleman's hand.

				BEN
		Of course.

				MR. SINGLEMAN
		I didn't get your name, sir.

				BEN
		Benjamin Braddock, sir.

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

				MRS. SINGLEMAN
		Braddock - Braddock?

				BEN
		Yes, but I'm afraid -

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

				BEN
		No - actually I'm just looking
		for a friend.

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

				BEN
			(backing off)
		I'm not with your party - I'm
		sorry.

				MRS. SINGLEMAN
		Hey - I don't get it.

	Ben is backing out.

				MISS DeWITTE
		I've enjoyed meeting you, Mr.
		Braniff.

				MRS. SINGLEMAN
		Angela - please!

	Ben backs out of the ballroom.

49	INT. HOTEL LOBBY - NIGHT

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

50	INT. VERANDA ROOM - NIGHT

	This is a large room with a bar and many tables along the
	windows that look out over the hotel grounds.  It is quite
	dark and cool inside and there are no more than a dozen
	people seated around.

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

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

								CUT TO:

51	ANGLE ON BEN

	sitting smoking.

								CUT TO:

52	NEW ANGLE ON BEN

	sitting.

								CUT TO:

53	NEW ANGLE ON BEN

	sitting drinking.

								CUT TO:

54	ANGLE ON BEN

	In the door to the lobby in the b.g. is Mrs. Robinson.
	She pauses, looks into the room, sees Ben and starts
	toward him.  Ben is looking out the window.  He does
	not see her approach.

				MRS. ROBINSON
		Hello, Benjamin.

				BEN
		Oh.  Hello.  Hello.

	He rises quickly.

				MRS. ROBINSON
		May I sit down?

				BEN
		Of course.

	He pulls out a chair, for her.

				MRS. ROBINSON
		Thank you.

	They sit down.

				MRS. ROBINSON
		How are you?

				BEN
		Very well.  Thank you.

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

				MRS. ROBINSON
		May I have a drink?

				BEN
		A drink?  Of course.

	Ben looks toward a passing WAITER and raises his hand.
	The waiter pays no attention.  Ben looks back at Mrs.
	Robinson apologetically.

				BEN
		He didn't see me.

				MRS. ROBINSON
		Waiter!

	For a moment, the noise in the room seems to recede.  The
	waiter stops in his tracks, turns toward them.  The waiter
	moves to their table.  The noise in the room comes back.
	The waiter looks at Mrs. Robinson.

				MRS. ROBINSON
		I will have a martini.

				WAITER No. 1
		Yes, madam.

	The waiter moves away.  Ben watches him go.

				MRS. ROBINSON
		You don't have to be so nervous,
		you know.

				BEN
		Nervous.  Well, I am a bit
		nervous.  I mean it's - it's
		pretty hard to be suave when
		you're -

	He shakes his head.

				MRS. ROBINSON
		Did you get us a room?

				BEN
		What?

				MRS. ROBINSON
		Have you gotten us a room yet?

				BEN
		I haven't.  No.

				MRS. ROBINSON
		Do you want to?

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

				MRS. ROBINSON
		Do you want me to get it?

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

				MRS. ROBINSON
		Do you want to get it now?

				BEN
		Now?

				MRS. ROBINSON
		Yes.

				BEN
		Well - I don't know.

				MRS. ROBINSON
		Why don't you get it.

				BEN
		Why don't I get it?  Well -
		I will then.
			(he stands up)
		If you'll excuse me.

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

55	INT. HOTEL LOBBY - NIGHT

	Ben walks to the front desk and stands there.

				ROOM CLERK
		Yes sir?

				BEN
		A room.  I'd like a room,
		please.

				ROOM CLERK
		A single room or a double
		room?

				BEN
		A single.  Just for myself,
		please.

				ROOM CLERK
		Will you sign the register,
		please?

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

				ROOM CLERK
		Is anything wrong, sir?

				BEN
		What?  No.  Nothing.

				ROOM CLERK
			(taking a key from
			behind the counter)
		Do you have any luggage, Mister --
			(looks at registration
			card)
		Gladstone?

				BEN
		Luggage?  Yes.  Yes.  I do.

				ROOM CLERK
		Where is it?

				BEN
		What?

				ROOM CLERK
		Where is your luggage?

				BEN
		Well it's in the car.  It's
		out in the car.

				ROOM CLERK
		Very good, sir.  I'll have a
		porter bring it in.

				BEN
		Oh no.

				ROOM CLERK
		Sir?

				BEN
		I mean I'd - I'd rather not
		go to the trouble of bringing
		it all in.  I just have a
		toothbrush.  I can get it my-
		self.  If that's all right.

				ROOM CLERK
		Of course.

	Ben reaches for the key.

				ROOM CLERK
		I'll have a porter show you the
		room.

				BEN
		Oh.  Well actually, I'd just as
		soon find it myself.  I just have
		the toothbrush to carry up and
		I think I can manage it myself.

				ROOM CLERK
		Whatever you say, sir.

	He hands Ben the key.

				BEN
		Thank you.

56	INT. VERANDA ROOM - NIGHT

	Mrs. Robinson sits, patiently and calmly.  Her face betrays
	absolutely nothing as she stares ahead of her and sips
	her martini.

				WAITER No. 1
		Mrs. Robinson.

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

				MRS. ROBINSON
		Yes?

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

				MRS. ROBINSON
		Thank you.

	The waiter nods and leaves.

				MRS. ROBINSON
			(into phone)
		Hello.

				BEN'S VOICE
		Mrs. Robinson?

				MRS. ROBINSON
		Yes?

				BEN'S VOICE
		It's Benjamin.

				MRS. ROBINSON
		Yes?

				BEN'S VOICE
		Benjamin Braddock.

				MRS. ROBINSON
		Benjamin -- where are you?

				BEN'S VOICE
		Can you look through the glass.

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

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

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

				BEN'S VOICE
		Can you see me now?

				MRS. ROBINSON
		Yes, I can.

58	INT. LOBBY PHONE BOOTH

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

	INTERCUT PHONE CONVERSATION

				BEN
		I got a single room.

				MRS. ROBINSON
		That's fine.

				BEN
		But there's one thing.  The desk clerk
		seemed to be a little bit suspicious.
		I mean - I don't know what their policy
		is - but -

				MRS. ROBINSON
		Well - do you want to go up first?

				BEN
		Yes - I think that would be good.

				MRS. ROBINSON
		I'll be up in five minutes.

				BEN
		Well - goodbye then -

				MRS. ROBINSON
		Benjamin.

				BEN
		Yes?

				MRS. ROBINSON
		Isn't there something you want to
		tell me?

				BEN
		To tell you?

				MRS. ROBINSON
		Yes.

				BEN
		Well - I want you to know how much
		I appreciate this - really -

				MRS. ROBINSON
		The number.

				BEN
		What?

				MRS. ROBINSON
		The room number, Benjamin.  I think
		you ought to tell me that.

				BEN
		Oh?  You're absolutely right.  Absolutely.
		It's 512.

				MRS. ROBINSON
		Thank you.

				BEN
		You're welcome.  Well - I'll see you
		later, Mrs. Robinson.

	He hangs up.

59	INT. LOBBY - PHONE BOOTH - SHOT - BEN

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

60	INT. HOTEL LOBBY - NIGHT

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

				BEN
		I've got it.

	The desk clerk looks up.

				BEN
		I say I've got it.

				CLERK
		Sir?

				BEN
		The toothbrush.  I got it all right.

				CLERK
		Very good, sir.

				BEN
		Yes.  Well - goodnight.

				CLERK
		Goodnight, sir.

	Ben walks out of shot.

60A	INT. HOTEL CORRIDOR - NIGHT

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

61	INT. HOTEL ROOM - NIGHT

	Ben closes the door behind him and leans with his back against
	it for a few moments looking at the room.  The only light
	is that coming in the window.  Ben turns on the light switch
	on the wall near the door.  The room blazes with the light
	from three lamps and an overhead fixture.  He turns the switch
	off.  He crosses to the bathroom.  Ben steps in and turns on
	the light.

61	INT. HOTEL ROOM - NIGHT

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

61Cont.There is a KNOCK on the door.  Ben crosses to the door and
	opens it.  Mrs. Robinson moves to the bureau and puts her
	purse and gloves on it.  She looks at herself in the
	mirror for a moment then turns slowly, looking at the room,
	finally ending on Ben's face.  She steps toward him.

				MRS. ROBINSON
		Well?

	He clears his throat and then he kisses her.

				BEN
		Well.

				MRS. ROBINSON
		Benjamin.

				BEN
		Yes?

				MRS. ROBINSON
		I'll get undressed now.  Is that all
		right?

				BEN
		Sure.  Shall I - I mean shall I just
		stand here?  I mean - I don't know
		what you want me to do.

				MRS. ROBINSON
		Why don't you watch?

				BEN
		Oh - sure.  Thank you.

	She takes off her jacket.

				MRS. ROBINSON
		Will you bring me a hanger?

				BEN
		What?

				MRS. ROBINSON
		A hanger.

	Ben opens the closet door.

				BEN
		Oh - yes.  Wood?

				MRS. ROBINSON
		What?

				BEN
		Wood or wire?  They have both.

				MRS. ROBINSON
		Either one will be fine.

				BEN
		Okay.

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

				MRS. ROBINSON
		Will you help me with this,
		please?

	She turns her back.

				BEN
		Certainly.

	He undoes the zipper at her neck.

				MRS. ROBINSON
		Thank you.

				BEN
		You're welcome.

	She turns and looks at him.  He backs away.

				MRS. ROBINSON
		Would this be easier for you
		in the dark?

				BEN
		Mrs. Robinson - I can't do
		this.

				MRS. ROBINSON
		You what?

				BEN
		This is all terribly wrong.

				MRS. ROBINSON
		Benjamin - do you find me undesirable?

				BEN
		Oh no, Mrs. Robinson.  I think -
		I think you're the most attractive
		of all my parents' friends.
		I just don't think we could
		possibly --

				MRS. ROBINSON
		Are you afraid of me?

				BEN
		No - but look - maybe we could
		do something else together,
		Mrs. Robinson - would you like
		to go to a movie.

				MRS. ROBINSON
		Benjamin, is this your first time?

				BEN
		Is this - what?

				MRS. ROBINSON
		It is, isn't it?  It is your
		first time.

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

				MRS. ROBINSON
		You can admit that, can't you?

				BEN
		Are you kidding?

				MRS. ROBINSON
		It's nothing to be ashamed of -

				BEN
		Wait a minute!

				MRS. ROBINSON
		On your first time -

				BEN
		Who said it was my first time.

				MRS. ROBINSON
		That you're afraid -

				BEN
		Wait a minute.

				MRS. ROBINSON
		 - of bring - inadequate -  I mean
		just because you happen to be
		inadequate in one way - 

				BEN
		INADEQUATE!

	LONG pause.

				MRS. ROBINSON
			(starting to dress)

				BEN
		Don't move.

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

								FADE OUT

	FADE IN

62	EXT. BRADDOCK BACKYARD AND POOL AREA - DAY

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

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

								DISSOLVE TO:

63	CLOSER SHOT - BEN

	drifting.

								DISSOLVE TO:

64	CLOSER ANGLE ON BEN

	drifting.

								DISSOLVE TO:

65	CLOSE SHOT - BEN

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

66	WHAT HE SEES

	Mr. Braddock is passionately stoking a barbeque fire.  Mrs.
	Braddock is going toward him from the house, carrying some
	ominously large thing wrapped in tinfoil.

67	SHOT - BEN

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

68	INT. SPECIAL SET - TAFT HOTEL ROOM

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

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

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

	He takes the cigarette out of his mouth.

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

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

70	INT. BRADDOCK DEN - NIGHT - REVERSE

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

71	REVERSE

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

72	REVERSE

	CLOSEUP of television set and cartoon.

73	REVERSE

	Ben watching.

74	REVERSE

	CLOSEUP test pattern.

								CUT TO:

75	INT. TAFT HOTEL ROOM - NIGHT

	CLOSEUP Ben watching.  PULL BACK and we are in the Taft
	Hotel Room.  Ben is sitting on the bed, leaning against
	the headboard, watching the television set which is on a
	stand facing the bed.

	SOUND of the HUM of the test pattern.

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

	SOUND of a ZIPPER being pulled up.

	Mrs. Robinson appears again and passes the other way.

	SOUND of BRACELETS being put on.

	Mrs. Robinson passes back the other way again.

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

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

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

77	OMITTED

78	EXT. BRADDOCK BACKYARD AND POOL AREA - DAY

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

79	SHOT - UNDERWATER

	Ben swims toward us the length of the pool.

80	SHOT - AT THE WATERLINE

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

								CUT TO:

81	INT. TAFT HOTEL ROOM - NIGHT

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

				MR. BRADDOCK'S VOICE
		Ben - what are you doing?

	Ben turns toward us and looks.

								CUT TO:

82	EXT. BRADDOCK BACKYARD AND POOL AREA - DAY
	SHOT - POV OF BEN ON RAFT

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

				BEN'S VOICE
		Well - I would say that I'm
		just drifting.

								CUT TO:

83	SHOT - BEN ON RAFT

				BEN
		- here - in the pool.

				MR. BRADDOCK
		Why?

				BEN
		Well - it's very comfortable -
		just to drift here.

				MR. BRADDOCK
		Have you thought about graduate
		school?

				BEN
		No.

				MR. BRADDOCK
		Would you  mind telling me then -
		what were those four years of
		college for?  What was the point
		of all that hard work?

				BEN
		You got me.

				MR. BRADDOCK
			(trying unsuccessfully
			to control himself)
		Now listen, Ben.  I think it's
		a very good thing that a young
		man - after he's done some very
		good work - should have a chance
		to relax and enjoy himself, and
		lie around, and drink beer and
		so on.  But after a few weeks
		I believe that person would
		want to take some stock in him-
		self and his situation and start
		to think about getting off his
		ass.

	Mrs. Braddock steps in beside Mr. Braddock.

				MRS. BRADDOCK
		The Robinson's are here.

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

				MR. ROBINSON
		Hi, Ben.  What are you doing with
		yourself these days?

				BEN
		Oh - not too much.  Taking it
		easy.

				MR. ROBINSON
		That's what I'd do if I could.
		Nothing wrong with that.  Hey
		Ben, Elaine's coming down from
		Berkeley soon.  I want you to
		call her up this time.

				BEN
		I will.

				MR. ROBINSON
		Because I just think you two
		would hit it off real well
		together.

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

				MRS. BRADDOCK
		Say hello to Mrs. Robinson,
		Benjamin.

84	SHOT - BEN

				BEN
		Hello, Mrs. Robinson.

				MRS. ROBINSON
		Hello, Benjamin.

							DISSOLVE TO:

85	INT. BEN'S ROOM - NIGHT

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

				MRS. BRADDOCK
		Can I talk to you a minute?

				BEN
		Sure.

				MRS. BRADDOCK
		Benjamin?  I'm going to ask you
		something but you don't have to
		tell me if you don't want.

				BEN
		What?

				MRS. BRADDOCK
		Well I'm going to ask you what
		you do when you go off at night.

				BEN
		When I go off?

				MRS. BRADDOCK
		You don't have to tell me if
		you don't want.

				BEN
		No, I do.  I want to tell you.

	There is a pause.

				BEN
		I drive around.

				MRS. BRADDOCK
		What else?

				BEN
		Nothing else.

				MRS. BRADDOCK
		Well you don't drive around from
		midnight until noon the next
		day, Benjamin.

				BEN
		Oh, no.

				MRS. BRADDOCK
		Then what do you do?  Do you
		meet someone?

				BEN
		Meet someone?

	She nods.

				BEN
		Why did you say that?

				MRS. BRADDOCK
		Well this is your business,
		Benjamin.
			(she starts toward
			the door)
		If you -

				BEN
		No wait.  Wait.

	She stops.

				BEN
		I don't meet anyone, mother, but
		why did you say that?

				MRS. BRADDOCK
		Benjamin, I'm not going to pry
		into your affairs, but I'd
		rather you didn't say anything
		at all than be dishonest.
		Goodnight, Benjamin.

				BEN
		Well, wait.

	She looks at him.

				BEN
		You think I'm being dishonest?

	She nods.

				BEN
		Well why do you - why do you
		think that?

				MRS. BRADDOCK
		Because I know you don't drive
		around for twelve hours.

				BEN
		Oh.  Well, I don't.  Shall I
		tell you what I do?

				MRS. BRADDOCK
		Not if you don't want to.

				BEN
		I do.

				MRS. BRADDOCK
		But I don't want you to make
		up something.

				BEN
		I'm not.  But I'm - I'm not very
		proud of what I do.  I usually
		get kind of drunk.  I usually
		drive over to Los Angeles and
		go to some bars and get kind of
		drunk.  Then I take a hotel
		room.  So I won't have to drive
		home on the freeway.  I mean it
		kind of scares me to drive home
		after - 

				MRS. BRADDOCK
		Goodnight, Benjamin.

				BEN
		You believe me, don't you?

				MRS. BRADDOCK
		No.

				BEN
		You don't?

	She shakes her head.

				BEN
		But I want you to.  Please. Please
		will you believe me.

85A	SHOT - MRS. BRADDOCK

				MRS. BRADDOCK
			(she exits)
		Goodnight.

				BEN'S VOICE
		Wait a minute.

								CUT TO:

86-
90	OMITTED

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

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

				BEN
		Wait a minute.
			(he pushes her
			hand away)
		Sit down a minute.

	Mrs. Robinson looks at him and raises her eyebrows.

				BEN
		Will you please sit down a
		minute.

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

				BEN
		Will you leave that shoe on for
		a minute.  Please.

	She straightens up.

				BEN
		Now - do you think we could say
		a few words to each other first
		this time?

				MRS. ROBINSON
		If you want.

				BEN
		Good.  I mean are we dead or
		something?

				MRS. ROBINSON
		Well I just don't think we have
		much to say to each other.

				BEN
		All we ever do is come up here
		and throw off the clothes and
		leap into bed together.

				MRS. ROBINSON
		Are you tired of it?

				BEN
		I'm not.  No.  But do you think
		we could liven it up with a
		few words now and then?

				MRS. ROBINSON
		Well what do you want to talk
		about?

				BEN
		Anything.  Anything at all.

				MRS. ROBINSON
		Do you want to tell me about
		some of your college experiences?

				BEN
		Oh my God.

			MRS. ROBINSON
		Well?

				BEN
		Mrs. Robinson.  If that's the best
		we can do let's just get the god-
		damn clothes off and --

	She reaches for her shoe.

				BEN
		Leave it on!  Now we are going to
		do this thing.  We are going to
		have a conversation.  Think of
		another topic.

				MRS. ROBINSON
		How about art.

				BEN
		Art.  That's a good subject.
		You start it off.

				MRS. ROBINSON
		You start it off.  I don't know
		anything about it.

				BEN
		Oh.

				MRS. ROBINSON
		Don't you?

				BEN
		Yes I do.  I know quite a bit
		about it.

				MRS. ROBINSON
		Go ahead then.

				BEN
		Art.  Well what do you want to
		know about it.

	She shrugs.

				BEN
		Are you interested more in modern
		art or more in classical art.

				MRS. ROBINSON
		Neither.

				BEN
		You're not interested in art?

				MRS. ROBINSON
		No.

				BEN
		Then why do you want to talk
		about it?

				MRS. ROBINSON
		I don't.

	Ben nods and looks at the rug.

				MRS. ROBINSON
		Can I take off my clothes now?

				BEN
		No.  Think of another topic.
		Tell me what you did today.

				MRS. ROBINSON
		Do you really want me to?

				BEN
		Yes I do.

				MRS. ROBINSON
		I got up.

	Ben starts shaking his head.

				MRS. ROBINSON
		Do you want to hear it or not?

				BEN
		Yes.  But you might try and spice
		it up with a little originality.

				MRS. ROBINSON
		I got up.  I ate breakfast and
		went shopping.  During the after-
		noon I read a novel.

				BEN
		What one.

				MRS. ROBINSON
		What?

				BEN
		What novel did you read.

				MRS. ROBINSON
		I don't remember.

	Ben nods.

				MRS. ROBINSON
		Then I fixed supper for my husband
		and waited until -

				BEN
		There!

				MRS. ROBINSON
		What?

				BEN
		Your husband!  Mrs. Robinson!
		There's something we could have
		a conversation about.

				MRS. ROBINSON
		Him?

				BEN
		I mean everything.  I don't know
		anything about how you - how you
		work this.  I don't know how you
		get out of the house at night.  I
		don't know the risk involved.

				MRS. ROBINSON
		There isn't any.

				BEN
		There's no risk?

	She shakes her head.

				BEN
		How do you get out of the house?

				MRS. ROBINSON
		I walk out.

				BEN
		You walk right out the door.

	She nods.

				BEN
		What do you say to him?

				MRS. ROBINSON
		He's asleep.

				BEN
		Always?

				MRS. ROBINSON
		Benjamin, this isn't a very
		interesting topic.

				BEN
		Please.  Now tell me.  How do
		you know he won't wake up
		sometime and follow you.

				MRS. ROBINSON
		Because he takes sleeping pills.
		He takes three sleeping pills
		every night at ten o'clock.

				BEN
		But what about the noise from
		the car.  What if -

				MRS. ROBINSON
		The driveway's on my side of
		the house.

				BEN
			(smiling)
		We're talking.

				MRS. ROBINSON
		What?

				BEN
		We're talking, Mrs. Robinson.
		We're talking.

				MRS. ROBINSON
		Calm down, Benjamin.

				BEN
		Now let's keep going here.

				MRS. ROBINSON
		Can I undress and talk at the
		same time?

				BEN
		Right.

				MRS. ROBINSON
		Thank you.

				BEN
		Now.  You say the driveway's on
		your side of the house.  So I
		guess you don't sleep in the
		same room.

				MRS. ROBINSON
		We don't.

				BEN
		So you don't - I mean I don't
		like to seem like I'm prying
		but I guess you don't sleep
		together or anything.

				MRS. ROBINSON
		No we don't.

				BEN
		Well how long has this been going
		on.

				MRS. ROBINSON
			(looking at the
			ceiling for a moment)
		About five years.

				BEN
		Oh no.  Are you kidding me?

				MRS. ROBINSON
		No.

				BEN
		You have not slept with your
		husband for five years?

				MRS. ROBINSON
		Now and then.  He geats drunk a
		few times a year.

				BEN
		How many times a year.

				MRS. ROBINSON
		On New Year's Eve.  Sometimes on
		his birthday.

				BEN
		Man, is this interesting.

				MRS. ROBINSON
		Is it?

				BEN
		So you don't love him.  You
		wouldn't say you -

				MRS. ROBINSON
		We've talked enough, Benjamin.

				BEN
		Wait a minute.  So you wouldn't
		say you loved him.

				MRS. ROBINSON
		Not exactly.

				BEN
		But you don't hate him.

				MRS. ROBINSON
		No, Benjamin.  I don't hate him.
		Unhook my blouse.

				BEN
			(unhooking her blouse)
		Well how do you feel about him,
		then?

				MRS. ROBINSON
		I don't.

				BEN
		Well that's kind of a bad
		situation then, isn't it?

				MRS. ROBINSON
		Is it?

				BEN
		I mean it doesn't sound like it
		could be much worse.  If you
		hated him at least you'd hate
		him.

	She nods and takes off her blouse.

				BEN
		Well you loved him once, I
		assume.  When you first knew
		him.

				MRS. ROBINSON
		No.

				BEN
		What?

				MRS. ROBINSON
		I never did, Benjamin.  Now
		let's -

				BEN
		Well, wait a minute.  You married
		him.

	She nods.

				BEN
		Why did you do that?

				MRS. ROBINSON
			(taking off her
			stockings)
		See if you can guess.

				BEN
		Well I can't.

				MRS. ROBINSON
		Think real hard, Benjamin.

				BEN
		I can't see why you did, unless
		...you didn't have to marry him
		or anything, did you?

				MRS. ROBINSON
		Don't tell Elaine.

				BEN
		Oh no.  You had to marry him
		because you got pregnant?

				MRS. ROBINSON
		Are you shocked?

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

				MRS. ROBINSON
		All right.  Now let's get to bed.

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

				MRS. ROBINSON
		What?

				BEN
		I mean do you feel like telling
		me what were the circumstances?

				MRS. ROBINSON
		Not particularly.

				BEN
		Was he a law student at the time?

	She nods.

				BEN
		And you were a student also.

				MRS. ROBINSON
		Yes.

				BEN
		At college.

				MRS. ROBINSON
		Yes.

				BEN
		What was your major?

				MRS. ROBINSON
		Why are you asking me all this?

				BEN
		Because I'm interested, Mrs. Robinson.
		Now what was your major subject
		at college?

				MRS. ROBINSON
		Art.

				BEN
		Art?

	She nods.

				BEN
		But I thought you - I guess you
		kind of lost interest in it over
		the years then.

				MRS. ROBINSON
		Kind of.

				BEN
		Well how did it happen?

				MRS. ROBINSON
		How do you think.

				BEN
		I mean did he take you up to
		his room with him?  Did you go
		to a hotel?

				MRS. ROBINSON
		Benjamin, what does it possibly
		matter?

				BEN
		I'm curious.

				MRS. ROBINSON
		We'd go to his car.

				BEN
		Oh no.  In the car you did it?

				MRS. ROBINSON
		I don't think we were the first.

	Ben thinks for a moment.

				BEN
		What kind of car was it?

				MRS. ROBINSON
		What?

				BEN
		Do you remember the make of the
		car?

				MRS. ROBINSON
		Oh my God.

				BEN
		Really.  I want to know.

				MRS. ROBINSON
		It was a Ford, Benjamin.

				BEN
			(jumping up)
		A Ford!  A Ford!  Goddamnit, a
		Ford!  That's great!

				MRS. ROBINSON
		That's enough.

				BEN
		So old Elaine Robinson got started
		in a Ford.

	There is a pause.

				MRS. ROBINSON
		Don't talk about Elaine.

				BEN
		Don't talk about Elaine?

				MRS. ROBINSON
		No.

				BEN
		Why not?

				MRS. ROBINSON
		Because I don't want you to.

	She walks to the bed.

				BEN
		Well why don't you?

	She pulls the bedspread down.  Ben begins to remove his
	jacket.

				BEN
		I wish you'd tell me.

				MRS. ROBINSON
		There's nothing to tell.

				BEN
		Well why is she a big taboo
		subject all of a sudden?

	Mrs. Robinson uncovers one of the pillows.

				BEN
		Well - I guess I'll have to ask
		her out on a date and find out
		what's --

				MRS. ROBINSON
		Benjamin, don't you ever take
		that girl out.

	Ben looks at her.

				MRS. ROBINSON
		Do you understand that?

				BEN
		Well look.  I have no intention
		of taking her out.

				MRS. ROBINSON
		Good.

				BEN
		I was just kidding around.

				MRS. ROBINSON
		Good.

				BEN
		But why shouldn't I?

				MRS. ROBINSON
		I have my reasons.

				BEN
		Then let's hear them.

				MRS. ROBINSON
		No.

				BEN
		Let's hear your reasons, Mrs.
		Robinson.  Because I think I
		know what they are.

	She pulls the covers down.

				BEN
		I'm not good enough for her to
		associate with, am I?  I'm not
		good enough to even talk about
		her, am I?

				MRS. ROBINSON
		Let's drop it.

				BEN
		We're not dropping it.  Now
		that's the reason, isn't it?
		I'm a dirty degenerate, aren't
		I?  I'm not fit to -

				MRS. ROBINSON
		Benjamin?

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

				MRS. ROBINSON
		Yes.

				BEN
		You go to hell.  You go straight
		to hell, Mrs. Robinson.  Do you
		think I'm proud of myself?  Do
		you think I'm proud of this?

				MRS. ROBINSON
		I wouldn't know.

				BEN
		Well, I'm not.

				MRS. ROBINSON
		You're not.

				BEN
		No sir.  I am not proud that I
		spend my time with a broken-
		down alcoholic!

				MRS. ROBINSON
		I see.

				BEN
		And if you think I come here
		for any reason besides pure
		boredom, then you're all wrong.

	She nods.

				BEN
		Because - Mrs. Robinson this
		is the sickest, most perverted
		thing that ever happened to
		me.  And you do what you want
		but I'm getting the hell out.

				MRS. ROBINSON
		Are you?

				BEN
		You're goddamn right I am.

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

				MRS. ROBINSON
		That's how you feel about me.

	He nods.

				MRS. ROBINSON
		That I'm a sick and disgusting
		person.

				BEN
		Now don't start this.

				MRS. ROBINSON
		What?

				BEN
		Don't start acting hurt.

				MRS. ROBINSON
		Don't you expect me to be a
		little hurt?

				BEN
		Mrs. Robinson, you stand there
		and tell me I'm not good enough
		for your daughter.

				MRS. ROBINSON
		Did I say that?

				BEN
		Of course you did.

	She shakes her head.

				MRS. ROBINSON
		Benjamin, I want to apologize
		to you if that's the impression
		you got.

				BEN
		Well two minutes ago you told
		me I wasn't good enough for
		your daughter.  Now you say
		you're sorry I got that
		impression.

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

				BEN
		You wouldn't.

				MRS. ROBINSON
		Of course I wouldn't.

	Mrs. Robinson walks to the closet.

				BEN
		What are you doing?

				MRS. ROBINSON
		Well it's pretty obvious you
		don't want me around any more.

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

				MRS. ROBINSON
		If that's how you feel -

				BEN
		But it's not.

				MRS. ROBINSON
			(smiling at him)
		That's all right.  I think I
		can understand why I'm disgusting
		to you.

				BEN
		Oh no.  Look - I like you.  I
		wouldn't keep coming here if
		I didn't like you.

				MRS. ROBINSON
		But if it's sickening for you -

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

				MRS. ROBINSON
		You don't have to say that.

				BEN
		Well I wouldn't.  I would never
		say it if it wasn't true.

				MRS. ROBINSON
		May I stay then?

				BEN
		Yes. Please.  I want you to.

				MRS. ROBINSON
		Thank you.

				BEN
		Well don't thank me, because I
		want you to.

	There is a long pause.

				MRS. ROBINSON
		But you won't ever take out
		Elaine, will you?  I want you
		to promise me that.

	There is another long pause.

				BEN
		Look.  Why the hell did you
		bring this up.  It never
		occured to me to take her out.

				MRS. ROBINSON
		Then give me your word you won't.

				BEN
		This is absurd.

				MRS. ROBINSON
		Promise me, Benjamin.

				BEN
		All right, for christ's sake.
		I promise I will never take
		out Elaine Robinson.

				MRS. ROBINSON
		Thank you.
			(pause)
		Benjamin -

				BEN
		Let's not talk about it.  Let's
		not talk at all.

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

								FADE OUT

	FADE IN

92	INT. BRADDOCK KITCHEN - DAY

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

				MR. BRADDOCK
		Elaine's back from school.  I
		think it might be a nice gesture
		if you asked her out.

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

								CUT TO:

93	INT. BEN'S ROOM - DAY

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

				MRS. BRADDOCK
		Don't you think that she's a
		terribly attractive girl?
		Because I think she's one of
		the prettiest girls I've
		ever seen.

	Ben gives a small whimper.

								CUT TO:

94	EXT. BRADDOCK BACKYARD AND POOL AREA - DAY

	Ben is lying face down on his raft in the middle of the
	Braddock pool.  The sun shines down.  His diving mask
	is on over his eyes.  His face is in the water, looking
	down at the bottom of the pool.  Mr. and Mrs. Braddock,
	in their bathing suits, are in the pool, paddling around
	Ben.  During the entire conversation they continue to
	swim around and around the raft, trying to talk and keep
	their heads above the surface.

				MRS. BRADDOCK
		It's pretty embarrassing.  I
		really don't know what to tell
		Mr. Robinson.  It's ackward
		and strained for me every time
		he suggests that you call up
		Elaine.

				BEN
		Next time he suggests it,
		I'll tell him I have no
		intention of ever calling
		her up in my life.

				MR. BRADDOCK
		I guess she's not good enough
		for you, is that it?

				BEN
		Look - Elaine Robinson and I
		do not get along.

				MR. BRADDOCK
		How do you know?  You haven't
		seen her since high school.  I
		guess your evenings, whatever
		you do with them, are just too
		valuable.

				BEN
		That has nothing to do with it -

				MR. BRADDOCK
		I guess I'll just tell Mr. Robinson
		that you're just too busy every
		evening - doing God knows what -

				MRS. BRADDOCK
		Don't go on like this.  Now if
		Benjamin absolutely refuses to
		take her out -

				BEN
		I do.

				MRS. BRADDOCK
		- then I'll simply invite all the
		Robinsons' over for dinner on
		Thursday.

95	SHOT - BEN

	He slides off the raft and goes underwater.

96	SHOT - BEN UNDERWATER

	His hair streaming up, his eyes open.

							CUT TO:

97	INT. SPECIAL SET BRADDOCK DINING ROOM - NIGHT

	The dining room is one tenth its normal size.  At a
	table for two are seated, jammed in against each other,
	the three Robinsons and the three Braddocks.  Elaine's
	back is to us.  Ben is at the other end of the table,
	facing us.  The Robinsons and Braddocks sit along
	the sides.  Mrs. Robinson is next to Ben, everyone is
	eating, looking down at their places.  After a few moments
	Ben throws his head back ans starts to scream.  As he
	continues to scream, everyone looks at him except Mrs.
	Robinson who continues to eat calmly without looking up.

							CUT TO:

98	EXT. BRADDOCK BACKYARD AND POOL AREA - DAY

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

				BEN
		I'll go call Elaine now.

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

	SOUND:  Ding dong of the Robinson door chimes.

							CUT TO:

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

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

				MR. ROBINSON
		Well, Braddock - it's about
		time you got around to this.
		Come on in.  I'm afraid the
		young lady isn't quite ready
		yet -

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

				BEN
		Hello.

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

				BEN
		Yes.

	Mr. Robinson hands him drink.

				MR. ROBINSON
		I'll see if she's ready.

	Mr. Robinson exits.

100	SHOT - BEN AND MRS. ROBINSON

				NOTE  Following dialogue played simultaneously

				BEN				MR. ROBINSON'S VOICE
		Now listen -- this was not		   (from hall)
		my idea.  It was my father's	Hey -- there she is.  Miss
		idea.					America -- that's who it is.
							It's definitely Miss America.
				MRS. ROBINSON
		Benjamin -- I thought I made		ELAINE'S VOICE
		myself perfectly clear about	Daddy - can you fix this?
		this.					The clasp is broken I think.

				BEN				MR. ROBINSON'S VOICE
			(whispering urgently)	I'll do it - I'll do it.
		Look, we'll go out to dinner
		and have a drink and I'll			ELAINE'S VOICE
		bring her back.  Because it		Is Ben here?
		was either that or a dinner
		party for the two families.			MR. ROBINSON'S VOICE
		And I'm afriad I couldn't		He's in the living room having
		quite handle that, if you		a chat with your mother.
		don't mind.  I have no
		intention of ever taking your
		precious daughter out again
		in her life.  So don't get
		upset about it.

				MRS. ROBINSON
		But I am.  I'm extremely upset
		about it, Benjamin.

	Mr. Robinson and ELAINE enter.

				ELAINE
		Hello.

				BEN
		Hello.

101	CLOSEUP - MRS. ROBINSON

				MR. ROBINSON'S VOICE
		Well - I want you to keep your
		wits about you tonight.  You never
		know what tricks Ben picked up
		back there in the East.

							LAP DISSOLVE TO:

102	EXT. FREEWAY - NIGHT

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

				ELAINE
		You're living at home now.  Is
		that right?

				BEN
		Yes.

				ELAINE
		Do you know what you're going
		to do?

				BEN
		No.

				ELAINE
		Are you going to graduate school?

				BEN
		No.

	He leans on the HORN.  The car directly ahead of him
	does not move to the right.  Ben jerks his car over to the
	right, swerves around the car ahead, jamming his horn
	down, and swerves back into the outside lane, giving the
	driver of the other car an angry look as he passes him.
	Elaine holds on to the dashboard to keep her balance.

				ELAINE
		Do you always drive like this?

				BEN
		Yes.

								CUT TO:

103	INT. RESTAURANT - NIGHT

	A drab, almost deserted room with formally dressed WAITERS.
	Ben and Elaine are seated at a table.

				BEN
		Do you want some dinner?

				ELAINE
		I'd love some.

	A waiter moves forward toward them.

				BEN
		Bring a menu.

				WAITER #2
		Dinner for two, sir?

				BEN
		No.  Just for her.

	The waiter moves away.

				ELAINE
		Aren't you eating?

				BEN
		No.

				ELAINE
		Why not?

				BEN
		If it's all right with you,
		I'm not hungry.

	The waiter returns with a menu.

				ELAINE
		I've changed my mind.  Thank
		you.

								CUT TO:

104	EXT. SUNSET STRIP - NIGHT - SHOTS

	Ben and Elaine walking on the strip.

105	EXT. STRIP JOINT - NIGHT

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

								CUT TO:

106	INT. STRIP JOINT - NIGHT

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

				BEN
		Sit down.

	Elaine sits in the chair with her back to the stage.
	She folds her hands on the table and looks down at them.
	Ben takes a pair of dark glasses out of his pocket and
	puts them on.  The two chairs are slightly angled toward
	each other so that Ben can look up at the stage without
	looking directly at Elaine.

				BEN
		Why don't you watch the show?

	The stripper is reflected in Ben's glasses.

				ELAINE
		Benjamin - do you dislike me
		for some reason?

				BEN
		No - why should I?

				ELAINE
		I don't know.

107	SHOT - ACROSS BEN - THE STRIPPER

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

				BEN
		You're missing a great effect
		here.

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

				BEN
		How do you like that?

	Elaine doesn't answer.

				BEN
		Could you do it?

				ELAINE
		No.

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

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

	The stripper slides a finger into her mouth, wets it
	and holds it up in the air.  The music stops and a
	DRUM ROLL starts.  The stripper bends over Elaine's head
	and begins swinging the tassels so that they rotate in
	front of Elaine's face.

108	SHOT - BEN

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

	The DRUM ROLL gets louder and faster.  The tassels
	swing more frantically.

109	SHOT - ELAINE

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

110	SHOT - BEN

	With Elaine's face reflected in his glasses.

111	SHOT - ELAINE

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

112	SHOT - BEN

	He reaches up to remove the glasses.

113	SHOT - ELAINE

	As the glasses come off and her face is seen in the harsh
	spill from the spotlight.  The tears are running down
	her face.  Only her eyes are crying as she looks straight
	at Ben.

114	SHOT - BEN

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

				STRIPPER
		Hey!

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

								CUT TO:

115	EXT. STRIP JOINT - NIGHT

	The entrance to the strip joint.  Elaine runs to the
	bottom of the steps.  The Sunset Strip sidewalk outside
	is crowded with people moving back and forth.  Ben follows
	her.  She pushes through the crowd on the sidewalk.  Ben
	catches her and holds her arm.

				BEN
		Elaine - I'm sorry.

	Elaine leans against the side of the building and pulls
	her arm away.

				ELAINE
		Will you take me home now?

				BEN
		I'm sorry I took you in there.

				ELAINE
		I think I'd better go home now
		please.

				BEN
		But, Elaine -

				ELAINE
		Where is the car?

				BEN
		I just want to tell you something.

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

				ELAINE
		I want to go home.

				BEN
		But could I just tell you this
		one thing?

				ELAINE
		What?

				BEN
		This whole idea - this date
		and everything.  It was my
		parents' idea.  They forced me
		into it.

				ELAINE
		Oh - that's very nice of
		you to tell me.

				BEN
		No.  What I mean is - that's
		why I've been acting this way.
		I'm not like this.  I hate
		myself like this.

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

				BEN
		Listen - could you stop crying,
		please?

				ELAINE
		No, I couldn't.

				BEN
		But could you try?

				ELAINE
		No.

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

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

				BEN
		Elaine -

	He starts to pull her head back.

				ELAINE
		Not here.  Not here.

							DISSOLVE TO:

116	EXT. DRIVE IN RESTAURANT - NIGHT

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

				BEN
		I've had this feeling - ever
		since I've graduated - this -
		kind of compulsion that I have
		to be rude all the time.  Do
		you know what I mean?

				ELAINE
		Yes, I do.

	He looks at her.

				BEN
		It's like I've been playing
		some kind of - game - but the
		rules don't make any sense to
		me -

	She is watching him carefully.

				BEN
		- they're being made up by all
		the wrong people - no - I mean
		no one makes them up, they seem
		to have made themselves up.

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

				BEN
		Say - I wonder if I could request
		you to turn that down a little?

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

117	SERIES OF SHOTS

	From outside of car.  Ben is talking with great animation
	- Elaine is watching him.  They are both eating as Ben
	talks, telling Elaine a story.  Their windows are rolled
	up.

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

								CUT TO:

118	EXT. ROBINSON HOUSE - NIGHT

	The car coasts silently to a stop in front of the Robinson
	house.  The RADIO plays QUIETLY.  Ben turns it OFF.  They
	sit there for a long time without saying anything, Ben's
	hand touching her shoulder.  It is very quiet.

				ELAINE
		Well - maybe I'd better go in.

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

				ELAINE
		Would you like to come in?  I
		could make some coffee.

				BEN
		No, I mean - I wouldn't want to
		wake anyone up.

				ELAINE
		We won't.  Let's go inside.

				BEN
		Wait a minute.

				ELAINE
		Is anything wrong?

				BEN
		No - I was just thinking -
		look - it's still early -
		we could do something - go
		somewhere else.

				ELAINE
		All right.

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

119	INT. BEN'S CAR - NIGHT

	Ben is driving.

				ELAINE
		Where we going?

				BEN
		I'm trying to think of where
		there's a place to have a
		drink around here.

				ELAINE
		Isn't there one in the Taft
		Hotel?

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

				ELAINE
		What is the matter?

				BEN
		Nothing.  I'm just wondering if
		they have a bar or not.  I mean
		let's go see.  Let's go see if
		they do or not.

120	INT. TAFT HOTEL LOBBY - NIGHT

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

				BEN
		Listen, Elaine - it seems to me
		that there isn't a bar in here.
		I mean - as far as I know.

				ELAINE
		Of course there is.  Look -
		The Veranda Room - right there.

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

				CAR PARKER
		Good evening.

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

				BELLBOY
		Hello, how are you, sir?

	The room clerk smiles at them.

				ROOM CLERK
		Good evening, Mr. Gladstone.

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

				VOICE #1
		Hello again.

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

				ELAINE
		Benjamin -

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

				ELAINE
		Benjamin - do they know you?

				BEN
		Of course not.

				VOICE #3
		Good evening, sir.

				VOICE #4
		Mr. Gladstone - how are you?

	He moves her toward the door.

				BEN
		Come on, Elaine.  We're leaving.

							CUT TO:

121	EXT. TAFT HOTEL

	Ben brings Elaine through the door to the porch.

				ELAINE
		Ben - what's happening?  Who
		is Mr. Gladstone?

				BEN
		I don't know.  They must think
		I look like this guy Gladstone.

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

				MISS DeWITTE
		Hello, Mr. Brannif.

	SOUND:  Car STARTING noisily.

122	EXT. TAFT HOTEL DRIVEWAY - NIGHT

	Ben and Elaine in his car.  He takes his hand off
	the ignition, jams on the accelerator and drives the car
	speedily for twenty-one feet and jams on the brakes.  He
	turns off the ignition and the lights.  He puts his
	head down on the steering wheel.  He lifts his head.

				BEN
		Elaine - I like you.  I like you
		so much.  Do you believe that?

	She nods.

				BEN
		Do you?

				ELAINE
		Yes.

				BEN
		You're the first - you're the
		first thing for so long that
		I've liked.  The first person
		I could stand to be with.

	She takes his hand.

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

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

				ELAINE
		Benjamin - are having an
		affair with someone?

	He freezes with his hand still on the key.

				ELAINE
		I'm sorry.

	He turns off the engine.

				ELAINE
		I'm sorry.  That is not my
		business.

				BEN
		It just happened.  It was just
		this thing that happened along
		with everything else.  Can you
		understand that?

	She nods.

				ELAINE
		Was she married or something?

				BEN
		Yes.

				ELAINE
		With a family?

				BEN
		Yes.  She had a husband and a
		son.

				ELAINE
		Did they ever find out?

				BEN
		No.

				ELAINE
		And it's all over now.

				BEN
		Yes.

				ELAINE
		I'm glad.

	He starts the car and drives out.

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

				BEN
		Can we do something tomorrow?

				ELAINE
		All right.

				BEN
		During the day?  We'll go for
		a drive or something.

				ELAINE
		Okay.

				BEN
		You sure you really want to?

				ELAINE
		Yes.

				BEN
		Because I wouldn't want you to
		do it unless you really wanted
		to!

				ELAINE
		I do.

				BEN
		You do?

				ELAINE
		Benjamin - I really do.

							DISSOLVE TO:

124	EXT. STREET NO. 1 - NEAR ROBINSON HOUSE - DAY
	SHOT - INT. BEN'S CAR - BEN DRIVING

	It is raining.  On the seat beside Ben is a package.
	From the way it is wrapped, we can tell it is a gift.
	Ben's right hand is on it as he drives.  The radio is
	playing.  Past Ben and through the windsheild as the
	Robinson house comes closer and closer.  The front door
	of the Robinson house opens and Mrs. Robinson comes out,
	dressed in a housecoat, and, in four or five fast steps,
	reaches the car, opens the door on the passengers side
	and climbs in.  Ben moves the package over into his lap.

				MRS. ROBINSON
		Drive down the block.

				BEN
		Mrs. Robinson - I have a date
		with Elaine.  We're going for
		a drive.

				MRS. ROBINSON
			(looking at him
			for the first time)
		Do exactly what I say.

	Ben starts the car forward down the driveway.

125	ANOTHER ANGLE - BEN AND MRS. ROBINSON

	As they drive.

				BEN
		Now it seems to me -

				MRS. ROBINSON
		Listen to me very carefully,
		Benjamin.  You are not to see
		Elaine again.  Ever.  Those
		are my orders.  Is that clear?

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

				BEN
		Mrs. Robinson -

				MRS. ROBINSON
		I can makes things quite unpleasant.

				BEN
		How?

				MRS. ROBINSON
		In order to keep Elaine away
		from you - I am prepared to
		tell her everything.

				BEN
		I don't believe you.

				MRS. ROBINSON
		Then you'd better start believing me.

				BEN
		Mrs. Robinson, don't wreck it.  I'm
		asking you please not to wreck it.

				MRS. ROBINSON
		Go home now.

				BEN
		I just don't believe you would do that.

	Mrs. Robinson looks at him for a moment.

				MRS. ROBINSON
		Try me.

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

	TRACK WITH BEN as he runs up the street and up the drive-
	way toward the Robinson house.  Ben gets to the front
	door.

				BEN
			(as he goes through
			the door)
		Elaine!

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

	Ben runs in.

				BEN
		Elaine?

				ELAINE'S VOICE
		Benjamin?

				BEN
		I'm coming up.

				ELAINE'S VOICE
		I'm not dressed yet.

	Ben runs up the stairs.  He still carries the package.
	Ben gets to the top just as Elaine comes out of the door
	to her bedroom.  She is wearing a skirt and slip and
	carrying one shoe.

				ELAINE
		Benjamin - I said I wasn't dressed -

	Ben pushes her back into her room.

127	INT. ELAINE'S ROOM - DAY

				ELAINE
		What's the matter?

				BEN
		You've got to go over the back
		fence and I'll meet you on the
		corner.

				ELAINE
		Benjamin - what's happening?

				BEN
		Hurry up.  Put your shoes on.

	Ben turns and looks.

128	SHOT - OVER BEN'S SHOULDER

	Mrs. Robinson is just entering the house.

				BEN
		NO.

	He turns around.

129	NEW ANGLE

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

				BEN
		Why aren't you ready?

				ELAINE
		Because I want to know what's
		happening.

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

				BEN
		There isn't time!

130	INT. ELAINE'S ROOM - DAY

	Ben pulls Elaine around behind the open door.  They stand
	in the angle formed by the door and the wall as though
	they are hiding from someone.  Mrs. Robinson's FOOTSTEPS
	can be heard coming up the stairs.

				BEN
		Elaine - I have to tell you
		something.

	He holds her against the wall in the corner.

				ELAINE
		What is it?

				BEN
		That woman -

				ELAINE
		What?

				BEN
		That woman.  The older woman.

				ELAINE
		You mean the one who -

				BEN
		Yes.  The married woman - it
		wasn't just some woman -

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

				ELAINE
		What are you telling me?

	The FOOTSTEPS stop.

131	ANGLE - CLOSE ON ELAINE

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

				ELAINE
		Please - will somebody tell me -

	She looks back at Ben, then back at her mother's face again.
	Mrs. Robinson's eyes watch her through the crack in the
	door.  Elaine looks away.

				ELAINE
		Oh - no.

	Ben backs up.

				BEN
		Elaine -

				ELAINE
		Oh my God -

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

				BEN
		Please.

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

				BEN
		No - don't cry -

				ELAINE
		GET OUT!

				BEN
		Don't cry.
			(holds the package
			out to her)

				ELAINE
		Get out of here.

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

				ELAINE
			(holding the door)
		Get out!

132	INT. ROBINSON HALL - DAY

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

				MRS. ROBINSON
			(calmly)
		Goodbye, Benjamin.

133	SHOT - BENJAMIN

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

134	INT. SPECIAL SET - ROBINSON HALL - DAY - SHOT - PULLING
	BACK FROM MRS. ROBINSON

	She is standing there, perfectly calm.  She gets further
	and further away as though it is a very long hall in a
	very bad dream.

							FADE OUT

	FADE IN

135	INT. BEN'S ROOM - NIGHT

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

						DISSOLVE THROUGH TO:

136	EXT. ROBINSON HOUSE - DAY

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

							DISSOLVE TO:	

137	INT. BEN'S ROOM  - DAY

	Ben dressed differently, stands by the window overlooking
	the backyard.  Over his shoulder, we can see Mr. Braddock
	down by the pool, dressed in a sweater, cleaning the pool
	with a long-handled scoop.  Mr. Braddock looks up at Ben's
	window.  Ben moves aside.

							DISSOLVE TO:

138	EXT. ROBINSON HOUSE - DAY

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

							DISSOLVE TO:

139	INT. BEN'S ROOM - NIGHT

	Ben, dressed differently again, sits in a chair by his
	desk.  He is writing.  On the piece of paper is written:
	DEAR ELAINE, ELAINE, ELAINE, ELAINE, and her name several
	dozen times.  He stops and looks up.

							DISSOLVE TO:

140	INT. BRADDOCK KITCHEN - DAY

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

				MR. BRADDOCK
		Say that again.

				BEN
		I'm going to marry Elaine Robinson.

	MR. BRADDOCK STARTS TO SMILE.

				MR. BRADDOCK
		Well - well - well -

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

				MRS. BRADDOCK
		What's happening?

				MR. BRADDOCK
		Ben says he and Elaine are getting
		married.

				MRS. BRADDOCK
		I don't believe it.

				MR. BRADDOCK
		That what he says.  Right?

				BEN
		I'm going up to Berkeley today.

				MRS. BRADDOCK
		Oh, Ben - this is so - exciting -

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

				BEN
		No.  I think you'll want to wait
		on that.

				MRS. BRADDOCK
		They don't know?

				BEN
		No - they don't.

				MRS. BRADDOCK
		Well - when did you decide all
		this?

				BEN
		About an hour ago.

				MR. BRADDOCK
		Wait a minute.  You talked to
		Elaine this morning?

				BEN
		No.  She doesn't know about it.

				MR. BRADDOCK
		She doesn't know that you're
		coming up to Berkeley?

				BEN
		No.  Actually - she doesn't
		know about us getting married
		yet.

				MRS. BRADDOCK
		When did you two talk this over?

				BEN
		We haven't.

				MR. BRADDOCK
		Ben - this whole idea sounds
		pretty half-baked.

				BEN
		No - it's not.  It's completely
		baked.  It's a decision I've made.

				MRS. BRADDOCK
		But what makes you think she
		wants to marry you?

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

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

							DISSOLVE TO:

141	EXT. ROAD NO 1 TO BERKELEY - DAY

	Ben driving his car (left to right)

				BEN'S VOICE
			(over)
		Dear Elaine - I am now visiting
		Berkeley, after growing somewhat
		weary of family life.  I have been
		meaning to stop by and pay my
		respects but am not entirely certain
		just how you feel about seeing me
		after the incident involving myself
		and your mother.  It was certainly
		a serious mistake on my part but
		not serious enough.  I hope --

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

							CUT TO:

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

	Ben driving his car (left to right)

				BEN'S VOICE
			(over)
		Mr. and Mrs. G. L. Robinson take
		great pleasure in announcing the
		wedding of their daughter...

	It runs down.

							CUT TO:

143	EXT. GAS STATION - DAY

	Ben's car is being gassed up.  It is a huge gas station
	with dozens of pumps and many neon lights.  Ben runs to
	a series of vending machines.  He pushes quarters into
	them, receiving cigarettes, a sandwich, an apple, a cup
	of coffee.  Balancing them all carefully, he runs back
	to the car, climbs in, puts his purchases on top of
	the dashboard, hands the attendant a bill and drives
	off.

							CUT TO:

144	EXT. ROAD NO. 3 TO BERKELEY - DAY

	Ben driving (left to right) and eating.

				BEN'S VOICE
			(over)
		Honey - I'm home.

				ELAINE'S VOICE
			(over)
		Hi - Sweetheart.

				BEN'S VOICE
			(over)
		Where are the kids?

				ELAINE'S VOICE
			(over)
		Oh, they're having a wonderful
		time - spending the day at Mother's
		- she's teaching them to...

	It runs down.

145	EXT. ROAD NO. 4 TO BERKELEY - DAY

	Ben driving (left to right)

				BEN'S VOICE
			(over)
		Dear Mom and Dad.  You may have
		wondered why Elaine and I haven't
		written in such a long time, but
		the postal sytem here in Greenland
		isn't the most efficient.  Life
		among these wonderful natives...

	It runs down.

							CUT TO:

146	EXT. ROAD NO. 5 TO BERKELEY - DAY

	Ben driving (left to right)

				MAN'S VOICE
			(over)
		Do you, Benjamin Braddock take
		this woman, Mrs. Robinson, for
		your Mother-in-law, to love,
		cherish and...

	It runs down.

							CUT TO:

147	EXT. TOLL BOOTH ON THE OAKLAND BRIDGE - DAY

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

							CUT TO:

148	EXT. OAKLAND BRIDGE - DAY

	Ben driving over bridge (left to right)

				MRS. ROBINSON'S VOICE
			(over)
		Benjamin - you and Elaine have
		made such a wonderful marriage.
		I often laugh when I remember
		those nights at the Taft.

				BEN'S VOICE
			(over)
		Yes - how long ago that all
		seems.

				MRS. ROBINSON'S VOICE
			(over; chuckling)
		I'll never forget how peeved I
		was when I first...

	It runs down...

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

							DISSOLVE TO:

149	INT. WENDELL HALL RECEPTION AREA - DUSK

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

				LADY RECEPTIONIST NO. 1
		May I help you?

				BEN
			(too loudly)
		Elaine Robinson.

				LADY RECEPTIONIST NO. 1
		Yes?

				BEN
			(clearing his throat)
		Elaine Robinson.  Does she live
		here?

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

				LADY RECEPTIONIST NO. 1
		Three-oh-eight.  Shall I call
		her for you?

	The Receptionist's hand moves to the receiver of a phone on
	the desk.  Ben looks at her hand for several seconds.  He
	takes a step backward.  Her hand starts to lift the receiver.
	Ben moves backward, puts his hand up as though to stop her
	and shakes his head, speechlessly.

150	SHOT - RECEPTIONIST

	Looking at Ben.

151	SHOT - BEN

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

						DISSOLVE THROUGH TO:

152	EXT. CAMPUS - DUSK

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

						DISSOLVE THROUGH TO:

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

	From the bottom of the stairway, shooting up.  MR.
	McCLEERY is the landlord of the rooming house.  They
	are climbing a flight of stairs, Mr. McCleery first,
	then Ben, carrying his suitcase.

				MR. McCLEERY
		You a student?

				BEN
		Not exactly.

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

				MR. McCLEERY
		What's that?

				BEN
		I said - not exactly - no.

				MR. McCLEERY
		What are you then?

				BEN
		Well - I'm just sort of traveling
		through.

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

				MR. McCLEERY
		I like to know who's living in
		my house.  I like to know what
		my boys are up to.

				BEN
		Ahhh.

	Mr. McCleery just looks up at him.

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

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

				MR. McCLEERY
		You're not one of those agitators?

				BEN
		What?

				MR. McCLEERY
		One of those outside agitators.

				BEN
		Oh - no sir.

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

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

							CUT TO:

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

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

							CUT TO:

155	EXT. WENDELL HALL - QUADRANGLE - DAWN

	DAWN.  The campus is empty except for Ben who, dressed
	carefully in his black suit, sits on a bench in the
	quadrangle outside of Wendell Hall.

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

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

157	EXT. CAMPUS BUILDING - DAY - LONG SHOT

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

158	SHOT - ELAINE

	He sees her and stiffens.

159	SHOT - ELAINE

	Approaching from the distance.

160	SHOT - BEN

	He stands.

161	SHOT ELAINE

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

162	SHOT - BEN

	Watching.  He takes a step forward.

163	SHOT - ELAINE AND GIRL

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

164	SHOT - BEN

	He starts toward them, falters, straightens himself.

165	SHOT - ELAINE, GIRL, BOY

	They are getting quite near.  Suddenly they are joined
	by THREE AFRICAN EXCHANGE STUDENTS, in tribal robes.
	They all greet each other and continue to walk toward us.

166	SHOT - BEN

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

	She stops and slowly turns to look in his direction.  Her
	companions also stop.  Ben changes his direction and
	makes a circle to his left as though he has just changed
	his mind.  He looks at her.  He does not stop walking.
	He makes a slow circle around her as he speaks.

				BEN
		Elaine.  Hey - what a surprise.
			(not quite looking
			at her)
		Say - I thought I remembered that
		you were going to school up here
		- well - we'll have to get together
		sometime - I'll be up here myself
		for a little while.

167	SHOT - BEN'S POV

	Elaine and the others staring at him.

168	SHOT - BEN

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

	He turns and walks away from them.  They stand still
	watching them go.  He starts to walk faster and faster.
	They watch him as he gets further and further away and
	then breaks into a run.  He disappears in the distance.

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

							CUT TO:

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

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

							DISSOLVE TO:

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

	Ben following and watching Elaine.

							DISSOLVE TO:

171	INT. TELEGRAPH STREET RESTAURANT - DAY

	Ben is sitting at a table by the window through which
	we can see the street.  He is drinking a beer.  Other
	tables are filled with students having animated discussions.
	Ben starts to pour some beer from the bottle into the
	glass.  He stops as he sees something through the window.
	He leans forward.

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

172	EXT. RESTAURANT TELEGRAPH STREET - DAY

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

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

173	OMITTED

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

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

				BEN'S VOICE
			(getting closer as
			he moves past people
			toward her)
		Excuse me - I'm sorry - I
		wonder if I could get by -
		excuse me -

	There is a pause and then, immediately behind her:

				BEN'S VOICE
			(cheerfully)
		Well - how about this for a
		coincidence.

175	NEW ANGLE

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

				BEN
			(leaning in a little)
		I was wondering where you were
		headed.

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

				ELAINE
		I'm meeting someone.

				BEN
		Ah.  Where?

	She doesn't answer.

				BEN
		Where are you meeting this person?

				ELAINE
		At the Zoo.

				BEN
		The Zoo.  They have a pretty good
		one here, do they?

				ELAINE
		I've never been to it.

				BEN
		Oh.  Well, I haven't either.  I
		might just ride out there with you.

	Hold on them riding.

							CUT TO:

176	EXT. ZOO - DAY

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

				BEN
		Is that him over there?

				ELAINE
		No.

				BEN
		Where did he say he was going
		to meet you?

				ELAINE
		I thought he said by the monkey
		house.

				BEN
		Oh.

	She stops.  Ben stops.

				ELAINE
		Benjamin - I would like to know
		what you're doing here.

				BEN
		Here?  In Berkelely?

				ELAINE
		Yes.

				BEN
		Well, I have this very pleasant
		room on Carter Street - and I've
		been getting to some classes -

				ELAINE
		But you're not enrolled.

				BEN
		No.  I just sit in.  They don't
		seem to mind.  They've been
		very congenial about it.

	She looks at him and starts to shake her head.

				ELAINE
		Benjamin - you're - I don't
		know what to say - you're --

				BEN
		Maybe we could get together
		some time and talk about it.

				ELAINE
		- really incredible -

				BEN
		Here he comes.

				ELAINE
		What?

				BEN
		I've got a real feeling that
		this is the fellow.

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

				CARL
			(waving)
		Elaine!

				BEN
		He certainly is a good walker.

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

				CARL
		Am I late?  I'm sorry.

				BEN
		We thought you said by the
		monkey house.

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

				ELAINE
		This is Benjamin Braddock.
		Carl Smith.  Benjamin rode
		here with me on the bus.

				CARL
		Glad to meet you, Ben.

	Ben steps forward and grasps Carl's hand.

				BEN
		Great meeting you, Carl.

	Carl steps back and puts an arm around Elaine's shoulder.
	The three of them look at each other for a moment.

				BEN
		Swell seeing you.  Have a good
		time.

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

177	SHOT - CARL AND ELAINE

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

178	SHOT - BEN

	As he watches them go.  His artificial smile disappears.
	The agony is such that he has to steady himself with
	his hand on the rail.  He turns his face away, toward the
	cage.  There is an animal in it, staring at Ben.  They
	look at each other.  There is a box - an automatic device
	with a recorded desciption of the animal - that begins
	to deliver its RECORDED MESSAGE.

							DISSOLVE TO:

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

	Ben is standing by the window, looking out.

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

	Elaine is walking up the street toward the rooming house.

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

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

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

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

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

	He runs to the bed and puts the covers back into place.
	He goes to the window sill, picks up an empty beer can,
	crosses to the bureau, opens a bureau drawer.  He crosses
	to the wastepaper basket under the sink, bends down and
	takes a newspaper out of it.  He crosses to the chair and
	sits down.  He holds the newspaper in front of him.  It
	is hopelessly crumpled.  He gets up, crosses to the
	bureau, opens a drawer and takes out a traveling iron.
	He kneels down, puts the newspaper on the floor and tires
	to straighten it out with the iron.

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

				BEN
		Come in.

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

				ELAINE
		I want to ask you a question.

				BEN
		Come in.

				ELAINE
		No.  I want to know why you're
		here in Berkeley?

				BEN
		Because - I am.

				ELAINE
		Is it because I'm here?

				BEN
		What do you think?

				ELAINE
		I think it is.

	Ben nods.

				ELAINE
		I said I think it is.

				BEN
		All right then!  Yes!

				ELAINE
		Well, I want you to leave.

				BEN
		Elaine - I love you.

				ELAINE
			(looking down)
		How could you do that, Benjamin?

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

				ELAINE
		Do you just hate everything?
		How could you possibly rape
		my...

				BEN
		What?

				ELAINE
		I don't understand -

				BEN
		Did you say rape her?

				ELAINE
		- how you - how anyone - could
		do a thing like that.

				BEN
		What did she say?

				ELAINE
			(holding his arm)
		Let me go.

				BEN
		You've got to tell me what she
		said.

	He touches her hair.

				ELAINE
		Why?

				BEN
		Because it isn't true.

				ELAINE
		I don't feel well.

	Ben pushes her down softly onto the bed.  He kneels
	along side her.

				BEN
		Tell me.

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

				ELAINE
		She said she was having a drink
		in the hotel with a friend.
		You waited for her in the parking
		lot and told her she was too
		drunk to drive home and that
		you would get her a room for
		the night.

				BEN
		Then what?

				ELAINE
		Then you took her upstairs and
		you raped her.

				BEN
		Elaine - that is not what happened.

	She puts her hands on his shoulder.

				ELAINE
		Please let me go.

				BEN
		All right - but listen to me.
		What happened was there was
		this party at my parents.  I
		drove your mother home - then
		we went upstairs to see your
		portrait -

	Elaine tightens her arms around his neck.

				ELAINE
		Don't tell me -

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

				ELAINE
		Benjamin - this is my mother!

				BEN
		- suddenly there she was without
		any clothes on - I mean really
		naked -

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

	SOUND OF FOOTESTEPS on the stairway and in the hall.
	Ben goes to the closet, opens the door, takes a jacket
	from a hanger and puts it on.

	SOUND:  A KNOCK on the door.

				MR. McCLEERY'S VOICE
		What's going on in there?

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

				BEN
		Oh - hello, Mr. McCleery.

				MR. McCLEERY
		Who screamed?

				BEN
		It's all right, Mr. McCleery.

				MR. McCLEERY
		Screaming isn't all right.  Not
		in my house it isn't.

				BEN
		It was just a visitor.  But it's
		all right now.

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

184	INT. ROOMING HOUSE HALLWAY - DAY

				MR. McCLEERY
		What did you do to her?

				BEN
		Look - she's all right.  She's
		upset and she screamed.  But
		she's okay now.

				A BOY
		Shall I get the cops?

				BEN
		What?

				A BOY
		I'll get the cops.

	He starts for the stairs.

				BEN
		Hey - wait a minute.  Now damn
		it - look.

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

				BEN
		See - she's just having some
		water.  Now there's no need
		for the cops or anything.

				MR. McCLEERY
		All right, boys - I think you
		can get back to your rooms.  I
		don't think we'll have any more
		of this agitation.  Will we,
		Braddock?

				BEN
		No, sir.

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

				MR. McCLEERY
		I want you out of here.

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

				BEN
		Mr. McCleery?

				MR. McCLEERY
		You heard me.  Out of here.

				BEN
		What for?

				MR. McCLEERY
			(going down the
			stairs)
		Because I don't like you.

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

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

	Elaine is standing at the sink.  She is putting water on
	her face.  Ben goes to the closet and takes out his suit-
	case and carries it to the bed.

				ELAINE
		I'm sorry I screamed.

	Ben opens the suitcase.

				ELAINE
		Benjamin, when you came up here,
		what did you think was going to
		happen between us?

				BEN
		Elaine - right now I don't feel
		like talking much.  I'm sorry
		about everything but I think I'll
		just do this now.

	He stands, looking into the empty suitcase.

				ELAINE
		Can I just sit here while you're
		packing?

				BEN
		If you want.

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

				ELAINE
		What are you looking for?

				BEN
		My belt.

				ELAINE
		Don't you have it on?

				BEN
		No.  I have two.  The other one
		is the one I'm looking for.
			(he reaches under
			the bureau)
		What's this?
			(he brings out a
			marble)
		It's from my grandmother.

				ELAINE
		The marble?

				BEN
		The belt I'm looking for was
		from my grandmother.

				ELAINE
		Oh.

	Ben takes the marble to the suitcase and packs it.

				ELAINE
		What are you going to do now?

				BEN
		I don't know.

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

				ELAINE
		Are you going home?

				BEN
		No.

				ELAINE
		Well - where are you going?

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

				BEN
		Elaine - you're going to have to
		stop asking me that.

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

				ELAINE
		I don't want you to leave tomorrow.

				BEN
		I don't understand.

				ELAINE
		I don't want you to go anywhere
		until you have a definite plan.

				BEN
		But Elaine -

				ELAINE
		Goodbye.

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

185A	EXT. ROOMING HOUSE STREET - DAY

	Past Ben, through the window, we see Elaine walking away.
	She walks the length of the street and disappears.

							DISSOLVE TO:

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

	Ben asleep in his bed.  Suddenly he sits up.

187	SHOT - ELAINE

	Standing in the darkness by the door.

				BEN
		What's happening?

	He gets out of the bed.

				ELAINE
		Benjamin?

				BEN
		What?

				ELAINE
			(taking a step
			forward)
		Will you kiss me!

	He goes to her and they kiss.

				BEN
		Will you marry me?

	She shakes her head.

				BEN
		You won't?

				ELAINE
		I don't know.

				BEN
		But you might.

				ELAINE
		I might.

				BEN
		Is that so?  You might marry me?

				ELAINE
		Yes.

				BEN
		When?

				ELAINE
		I don't know.

				BEN
		How about tomorrow?  I don't mean
		to be pushy but -

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

				BEN
		You mean you're confused?

	She nods.

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

				ELAINE
		I don't see how we can.

				BEN
		We just can.

				ELAINE
		I have to go back now.

	She goes to the door.

				BEN
		Elaine - are you serious about this?

				ELAINE
		I'll think about it.

				BEN
		You really will?

				ELAINE
		Yes.

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

				BEN
		Well - let's get together sometime.

	He closes the door.

				BEN
		Good God!

							DISSOLVE TO:

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

	addressed to MR. BENJAMIN BRADDOCK

	SOUND:  FOOTSTEPS descending stairs.  Someone WHISTLING.
	The FOOTSTEPS and WHISTLING get nearer and stop.

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

			LEAVE BERKELEY IMMEDIATELY OR
			SERIOUS REPEAT SERIOUS TROUBLE
			WILL RESULT.

				MRS. G. L. ROBINSON

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

							CUT TO:

189	EXT. CAMPUS NEAR CLASSROOM BUILDING - DAY

	CLOSE UP ONE BEN'S HAND fiddling with the crumpled telegram.
	Students are moving quickly from building to building.
	Ben is walking alongside Elaine.

				BEN
		We could go down and get our
		blood tests tomorrow.

				ELAINE
		Tomorrow?

				BEN
		Or this afternoon.  It's a good
		day for it.

				ELAINE
		Benjamin - I haven't even said
		I'll marry you yet.

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

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

							CUT TO:

190	INT. CLASSROOM BUILDING CORRIDOR - DAY

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

				ELAINE
		I just don't think it would work.

				BEN
		Why wouldn't it?

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

191	ANOTHER ANGLE - BEN

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

				BEN
		Why wouldn't it?

				ELAINE
		I just don't think it would...

	Elaine starts walking down the corridor towards the exit door.
	Ben follows her, moving out of the way of the other students.

							CUT TO:

192-	OMITTED
193

194	INT. GYMNASIUM - DAY

	Elaine and twenty other girls are in basketball uniforms.
	Two teams of girls are playing basketball.  Elaine sits
	on the bench, watching.  Ben stands behind her.  The girls
	are shouting and clapping and jumping up and down.

				BEN
		Tomorrow then - can we get our
		blood tests tomorrow morning?

	She turns and looks at him.

				ELAINE
		Why don't you just drag me off
		if you want to marry me so much?

				BEN
		Why don't I just drag you
		off?  All right - I will.
		Right after we get the blood
		tests.

				ELAINE
		Well - I have to see Carl first.

				BEN
		Carl who?

	Elaine jumps up, applauding a shot.

				BEN
		Carl who?

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

				BEN
		Who - that guy at the Zoo?

				ELAINE
		Yes.

				BEN
		Why do you have to see him?

				ELAINE
		Well -- I said I might marry him.

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

				BEN
			(yelling after her)
		You WHAT?

							CUT TO:

195	INT. LIBRARY - DAY

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

				BEN
		How did he do it?  Did he get down
		on his knees?  He didn't get down
		on his knees, I hope.

				ELAINE
		No, Benjamin.

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

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

				BEN
		Oh no.  He said that.

				ELAINE
		Shhhh.

				BEN
		Where did he do it?

	She starts to get up.

				BEN
		I'd like to know where it happened?

	She starts to move away.

				BEN
		It wasn't in his car, was it?

							CUT TO:

196	EXT. WENDELL HALL - DAY

	Ben and Elaine are standing at the entrance.

				BEN
		Are we getting married tomorrow?

				ELAINE
		No.

				BEN
		The day after tomorrow?

				ELAINE
		Maybe we are and maybe we aren't.

	She goes through the doorway into Wendell Hall.  Ben remains
	standing in exactly the same positin.  After a few moments
	the door opens and Elaine comes out, steps quickly to Ben,
	kisses him, then runs back inside.  Ben turns and starts
	away from the door.  The door opens again.  Ben turns back
	and takes a step toward the door, smiling expectantly.  A
	tall bearded MAN comes out and goes past Ben.  Ben breaks up.

							CUT TO:

196A	EXT. BERKELEY STRRET - DAY

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

196B	INT. ROOMING HOUSE - DOWNSTAIRS - NIGHT

	Ben enters carrying four oddly shaped boxes and some flowers.

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

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

				MR. ROBINSON
			(clearing his throat)
		Do you want - do you want to try
		and tell me why you did it?

				BEN
		Mr. Robinson?

				MR. ROBINSON
		Do you have a special grudge
		against me?  Do you feel a particularly
		strong resentment for me?

				BEN
		No, it's not --

				MR. ROBINSON
		Is there something I've said that's
		caused this contempt?  Or is it just
		the things I stand for that you
		despise?

				BEN
		It was nothing to do with you, sir.

				MR. ROBINSON
		Well, Ben, it was quite a bit to
		do with me.

	Ben takes a step forward.

				BEN
		Now look - please -

				MR. ROBINSON
		Ben, I think we're two civilized
		human beings.  Do you think it's
		necessary to threaten each other?

				BEN
		I am not threatening you.

				MR. ROBINSON
		Do you want to unclench your fists,
		please?  Thank you.  I can see in
		the dark, you know.  I've been here
		quite a while.

				BEN
		I am trying to tell you I have no
		personal feelings about you, Mr.
		Robinson.  I am trying to tell
		you I do not resent you.

				MR. ROBINSON
		You don't respect me terribly
		much either, do you?

				BEN
		No, I don't.

				MR. ROBINSON
		Well, I don't think we have a
		whole lot to say to each other,
		Ben.  I do think you should know
		the consequences of what you've
		done.  I do think you should
		know that my wife and I are
		getting a divorce soon.

				BEN
		But why?

				MR. ROBINSON
		Why?

				BEN
		It shouldn't make any difference
		what happened.

				MR. ROBINSON
		That's quite a statement.

				BEN
		Listen to me.  We got - we got
		into bed with each other.  But
		it was nothing.  It was nothing
		at all.  We might - we might just
		as well have been shaking hands.

				MR. ROBINSON
		Shaking hands.  Well, that's not
		saying much for my wife, is it?

				BEN
		You miss the point.

				MR. ROBINSON
		Don't shout at me, Ben.

				BEN
		The point is - I don't love your
		wife.  I love your daughter, sir.

				MR. ROBINSON
		Well - I'm sure you think you do,
		Ben, but after a few times in
		bed with Elaine I feel quite sure
		you'd get over that as quickly
		as you -

				BEN
		HUH?

				MR. ROBINSON
		I think I've talked about this
		enough.  I don't know how far
		I can go, Ben.  I don't know if
		I can prosecute or not, but I
		think maybe I can.  In the light
		of what's happened I think maybe
		I can get you behind bars if you
		ever look at my daughter again.
		I have seen Elaine and I have
		spent the afternoon taking steps
		to insure...

	Mr. Robinson climbs across the bed to get to the door.
	Ben takes a step toward him.

				MR. ROBINSON
		Stay away from me, Ben!

	Mr. Robinson stands at the door.

				MR. ROBINSON
		I don't want to mince words with
		you.  As far as Elaine's concerned
		you're to get her out of your
		filthy mind right now.  Is that
		perfectly clear ro you?  That's
		all, Ben.  You'll pardon me if
		I don't shake hands with you.

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

				MR. ROBINSON
		I think you are filth.

	Mr. Robinson turns back from the hall.

				MR. ROBINSON
		I think you are scum.

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

				MR. ROBINSON
		You are a degenerate!

	Mr. Robinson turns and goes down the stairs, past Mr.
	McCleery who looks up at Ben.

198	SHOT - BEN

	He walks to the door, looks out into the hall at Mr.
	McCleery, then shuts the door.  Ben goes to the window
	and looks out.

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

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

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

	He runs out of his room.

201	INT. ROOMING HOUSE HALL AND STAIRS - NIGHT

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

				BEN
		Mr. McCleery - do you have
		some change?  I need to use
		the phone?

				MR. McCLEERY
		I want you out of here.

				BEN
			(takes out some
			money)
		Look - I'll give you ten dollars
		for a dime - I'll give you
		twenty - for God's sake, will
		you let me use that phone?

				MR. McCLEERY
		I am going to call the police now.

				BEN
		Could I make one phone call first?

				MR. McCLEERY
		Get out!

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

							CUT TO:

202-	OMITTED
209

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

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

							CUT TO:

211	CLOSEUP - BEN

	Ben reacting.

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

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

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

							CUT TO:

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

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

				ELAINE'S VOICE
			(over)
		Dear Benjamin - I promise you some-
		say I will write a long letter about
		everything but right now I can't
		thank and all I can say to you is
		please forgive me because I know
		what I'm doing is the best thing
		for you.  My father is so upset
		you've got to understand.  I love
		you, but it would never work out.

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

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

215	EXT. ROBINSON BACKYARD - NIGHT

	Ben climbs a fence into the backyard and moves to the house.
	He looks up at Elaine's bedroom window.

				BEN
			(a whispered shout)
		Elaine - Elaine -

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

216	ANGLE ON BEN

	He moves to the back door, takes off his shoes, puts them
	into his jacket pockets, tries the back door.  It opens
	and he goes in.

217	INT. SUNROOM - NIGHT

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

218	INT. ROBINSON UPSTAIRS HALL - NIGHT

	Ben goes to the door of Elaine's room and looks in.  There
	is a light on in the room and the sound of someone moving
	around.  He goes in.

				BEN
		Elaine?

219	INT. ELAINE'S ROOM - NIGHT

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

				MRS. ROBINSON
		Hello, Benjamin.

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

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

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

				BEN
		Where is she?

221	MRS. ROBINSON'S ROOM - NIGHT

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

				MRS. ROBINSON
		Hello.  Get me the police, please.

				BEN
		Where is Elaine?

				MRS. ROBINSON
		I'll be with you in a moment,
		Benjamin.
			(into phone)
		Will you send a police car to twelve
		hundred Glenview Road.  We have a
		burgler here.  Just a second.  I'll
		ask him.
			(to Ben)
		Are you armed?
			(into phone)
		No - I don't believe he is.  Thank
		you.

	She hangs up.

				BEN
		What have you done to her?

				MRS. ROBINSON
		I think we have everything quite
		under control now, Benjamin.  Would
		you like a quick drink before you go?

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

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

				MRS. ROBINSON
		I'm sorry we won't be able to invite
		you to the wedding, Benjamin, but
		the arrangements have been so rushed -

				BEN
		What the hell have you done?

	SOUND of SEVERAL CARS TURNING INTO DRIVEWAY.

				MRS. ROBINSON
		Ahh.  I don't think you'll have
		time for that drink after all.

				BEN
		I'll find her.

				MRS. ROBINSON
		I don't think so.

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

222	INT. ROBINSON HALLS - NIGHT

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

223	EXT. ROBINSON BACKYARD - NIGHT

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

224	EXT. STREET - NIGHT

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

				BEN
		Wedding!  God Damn it - wedding!

	People are YELLING as him from the cars going by.

				MR. ROBINSON'S VOICE
		Carl - I think you and Elaine will
		make a good team.

				CARL'S VOICE
		Your father's right, Elaine.  You
		and I will make a darned good team.

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

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

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

				WOMAN'S VOICE
		We have two Carl Smiths.  Is it
		Carl with a "C" or a "K"?

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

				WOMAN'S VOICE
		The Karl Smith with a "K" teaches
		History of Advertising -

				BEN'S VOICE
		And the other?

				WOMAN'S VOICE
		The one with the "C", Carl Smith
		Junior, is in our medical school.
		He lives at Gamma Delta Tau.

226	EXT. FRATERNITY HOUSE - DAY

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

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

	Ben enters the hall.  Through a door can be seen a DOZEN
	OR SO FRATERNITY BROTHERS seated at a table chowing down.
	It is breakfast.  Ben walks into the dining room.

228	INT. FRATERNITY DINING ROOM - DAY

	The fraternity brothers are eating and talking noisily.

				BEN
		Say - fellows -

	They stop eating and turn toward him.

				BEN
		Do any of you fellows know where
		Carl Smith is?

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

	He goes back to his breakfast.

				FRAT BROTHER #2
		Proabaly one step ahead of the
		shotgun.

				BEN
		Do you happen to know where he's
		getting married?  I'm supposed to
		be there.

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

				BEN
		Would you happen to know where I
		might find him?

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

	They start to laugh.

				FRAT BROTHER #3
		Or in the can.

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

							CUT TO:

229	INT. FRATERNITY WASHROOM - DAY

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

				MAN AT SINK
		Hey, Carter - where's the Make Out
		King getting married?

				CARTER'S VOICE
			(echo sound)
		Santa Barbara.

				BEN
			(calling in the direc-
			tion of Carter's voice)
		You don't happen to know exactly
		where the Make Out King is
		getting married, do you?  I'm
		supposed to be there.

				CARTER'S VOICE
		I don't know.  Maybe at his old
		man's home.

				MAN AT SINK
		You going to the wedding?

				BEN
		Yes.

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

	A great deal of laughter follows this gem.

							CUT TO:

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

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

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

231	EXT. VARIOUS ROADS TO SANTA BARBARA - DAY
	SEQUENCE OF SHOTS

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

232	EXT. FREEWAY EXIT AND GAS STATION - DAY

	SHOT the CAR leaving the freeway under a SANTA BARBARA sign.
	The car swings onto an off ramp and down to a street, turns
	into a gas station and stops near the office.  Ben gets
	out of the car and runs into the office.

233	INT. GAS STATION OFFICE - DAY

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

				BEN
		Do you have a phone?

	The attendant points.  Ben reaches for the phone book
	hanging under the pay phone.

234	SHOT - BRINGING PHONE BOOK UP INTO FOCUS

	The front of it says SANTA BARBARA TELEPHONE DIRECTORY.
	Ben opens it to the S's.  His finger runs down to the
	Smiths.  There is at least a half a page of them.

235	SHOT - THE PAGE

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

236	SHOT - BEN

	He inserts a dime and dials.  The attendant watches him.
	SOUND of BUZZING from the phone.  It CLICKS open.

237	SHOT - TIGHT ON BEN

				WOMAN'S VOICE
		657-2036

				BEN
		Hello - who is this?

				WOMAN'S VOICE
		This is Dr. Smith's answering service.

				BEN
		Is the doctor anywhere?

				WOMAN'S VOICE
		Well - you see - the doctor is at his
		son's wedding, but I'm sure it's over
		by now.  He should be checking in any
		moment -

				BEN
		Listen to me.  I am Dr. Smith's
		brother - Reverend Smith - and I
		am supposed to perform the ceremony.
		I just got in - from - Portland -
		and I've forgotten what church - you
		see?

238	SHOT - THE ATTENDANT

	The attendant puts down his magazine and stares.

239	SHOT - TIGHT ON BEN

				WOMAN'S VOICE
		Oh.  Well - I'm not sure - but you
		might try the First Presbyterian.
		That's on Allan Street.

				BEN
		Thank you.

				WOMAN'S VOICE
		I certainly hope you -

240	SHOT - BEN

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

				BEN
		Allan Street.  Where is it?

				ATTENDANT
			(suspiciously)
		Six blocks up - three blocks over.

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

241	EXT. GAS STATION - DAY - SHOT OF BEN

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

				ATTENDANT
		You need any gas, Father?

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

	The car drives out of the station.

242	EXT. SANTA BARBARA STRRET - DAY

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

243	SHOT - INT. CAR

	SOUND:  THE ENGINE FAILING.  Ben looks down.

244	SHOT - THE GAS GAUGE

	The needle is on "E".

245	SHOT - BEN

	He pumps the gas pedal.

246	SHOT - THE CAR

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

147	SHOT - BEN

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

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

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

249	EXT. CHURCH - WHAT HE SEES

	The First Presbyterian Church.

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

	Running across the street.  He stops for a moment and looks
	around.  There are a number of cars parked in front of the
	church.  Among them is Mrs. Robinson's car.  Ben runs by
	it and up the steps to the front doors of the church.

251	EXT. CHURCH - DAY - SHOT OF BEN

	He pulls at the doors.  They are locked.  Through the glass
	doors, we can see to the front of the church where the
	wedding ceremony is taking place.

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

	running around the side of the church.  There are glass
	windows and doors through which, as he runs, we can see
	the ceremony continuing.

253	EXT. BACK OF CHURCH - DAY

	Ben runs, looking for an entrance.  He goes all the way
	around the church and stops at a side door.  He opens the
	door and goes in.

254	INT. CHURCH - BALCONY - DAY

	The balcony is between two huge windows, one of which looks
	out on the lawn outside, the other looks into the interior
	of the church where the ceremony is taking place.  The sun
	is coming through the window.  Ben stops and looks through
	the inside window.  The minister is just closing the book.
	He says something and Carl and Elaine kiss.

				BEN
		Oh, Jesus - God - no -

	He puts his hands up against the glass and slumps.  The
	minister shakes hands with Carl, then takes Elaine's hand.
	The ORGAN music starts to THUNDER.

				BEN
			(straightening)
		No!

	He moves to the center of the window and begins to POUND
	on the glass.

				BEN
		Elaine - Elaine!

	Ben's shadow is thrown across the celebrants.  They all
	turn around and look up at him.

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

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

257	SHOT - MRS. ROBINSON

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

258	SHOT - MR. ROBINSON

	looking up at Ben.

259	SHOT - CARL

	looking up at Ben.

260	SHOT - ELAINE

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

261	SHOT - ALL OF THEM

	Mr. Robinson, Carl, and Mrs. Robinson are moving toward
	Elaine.  The ORGAN is playing LOUDLY.  Ben's voice can
	be heard SHOUTING Elaine's name.  The POUNDING on the
	glass can be heard.

				CARL
		Who is that guy?  What's he doing?

				MR. ROBINSON
		I'll take care of him.

				MRS. ROBINSON
		He's too late.

	The other guests are adlibbing their confusion.

262	SHOT - ELAINE

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

263	CLOSEUP - ELAINE

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

264	ELAINE'S POV - CARL

	Frozen frame.

265	ELAINE'S POV - MR. ROBINSON

	Frozen frame.

266	ELAINE'S POV - MRS. ROBINSON

	Frozen frame.

267	SHOT - ELAINE

	Her face turning quickly to look up at Ben.

268	ELAINE'S POV - BEN

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

269	CLOSEUP - ELAINE

	looking up at Ben.

				ELAINE
			(screaming)
		Ben!

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

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

	He starts to go back down the stairs.  He reaches the
	bottom of the stairs and goes through a door which leads
	into the vestibule of the church.

271	INT. CHURCH VESTIBULE - DAY

	Mr. Robinson is waiting for Ben, crouching, his arms spread.
	Behind him is Elaine.  Ben moves toward them.  Mr. Robinson
	grabs Ben around the waist.  Ben twists away.  Mr. Robinson
	grabs Ben's collar and tears his jacket half off.  Ben
	turns and hits Mr. Robinson in the face.  Mr. Robinson
	falls down.  Ben moves to Elaine and grabs her hand.  He
	pulls her toward the doors.

				BEN
		Come on - don't faint.

272	SHOT - THE ORGANIST

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

273	SHOT - THE DOOR

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

				BEN
		Out of my way!

	Carl steps in and grabs Ben from behind.  Ben breaks
	Carl's hold and picks up a gold cross off a nearby stand.
	He begins to swing it, advancing toward Carl.  Carl
	backs up toward the other guests.

274	NEW ANGLE

	Mrs. Robinson steps to Elaine.  She reaches out and takes
	Elaine's wrist.

				MRS. ROBINSON
		Elaine - it's too late.

	Elaine pulls her hand away.

				ELAINE
		Not for me.

275	SHOT BEN

	He turns toward the man standing in front of the door and
	raises the cross over his head.

				BEN
		MOVE!

	The man moves away from the door.  Elaine steps forward
	and opens the door.  She and Ben go out.

276	EXT. FRONT OF CHURCH - DAY

	Ben jams the cross through the handles of the door.  He
	grabs Elaine's wrist.

				BEN
		Run, Elaine, run!

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

277	INT. CHURCH VESTIBULE - DAY

	From inside the church vestibule.  Through the glass
	doors, we can see Elaine and Ben running down the street.
	The wedding party members are tugging furiously at the
	jammed doors.  Mrs. Robinson turns toward us and calmly
	begins to put on her gloves.

278	EXT. STREET IN FRONT OF CHURCH - DAY

	Ben and Elaine running along the sidewalk.  Ben holds
	her hand and is pulling her.  She still holds her
	flowers.  They run to a bus that is just closing its
	doors.

279	SHOT - BEN

	He bangs on the closed door of the bus.  The door opens.
	Ben climbs the step into the bus and pulls Elaine up
	after him.  The doors close.

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

	Ben holds out a dollar bill.

				BEN
		How much?

				DRIVER
		Where do you want to go?

				BEN
		To the end.

	The driver takes the bill and gives Ben some change.
	Ben turns and pulls Elaine along to the back of the bus.
	He pushes her into one of the seats and sits beside
	her.  Ben looks toward the front of the bus.

281	BEN'S POV

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

282	SHOT - BEN

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

283	SHOT - THE DRIVER

	He turns and starts the bus.

284	SHOT - BEN AND ELAINE

	They are breathing heavily.

				ELAINE
		Benjamin?

				BEN
		What?

	She takes his hand.

285	EXT. STREET IN FRONT OF CHURCH - DAY

	Through the window in the back of the bus the church can
	be seen receding in the distance.  There seem to be a
	number of men dressed in black running around in the
	street in front of it.

							FADE OUT


				THE END




Graduate, The



Writers :   Buck Henry
Genres :   Comedy  Drama  Romance


User Comments


Internet Movie Script Database
Back to IMSDb





Index    |    Submit    |    Links    |    Link to us    |    RSS Feeds    |    Disclaimer    |    Privacy policy