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The Graduate (1967) screenplay

by Calder Willingham and Buck Henry
based on the novel by Charles Webb
 
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

 
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