THE GRADUATE "THE GRADUATE" Screenplay by Buck Henry Prod. No. 20055 FINAL DRAFT March 29, 1967 Property of: Lawrence Turman, Inc. Mike Nichols 5451 Marathon St. Hollywood, California ------------------------------------------------------------------------------------ 1 EXT. AMPHITHEATRE - DAY SHOT - HELICOPTER'S POV - Moving through clouds. The clouds separate and, far below, we can see a giant outdoor amphitheatre. There is no SOUND but the WIND. As we move closer to the amphitheatre, we can hear SNATCHES OF WORDS and PHRASES as though from a public address system. 2 EXT. AMPHITHEATRE - PODIUM - DAY - SHOT OF BEN in cap and gown, standing in front of a microphone. The WIND is BLOWING. He has to hold on to the papers from which he is reading. 3 EXT. AMPHITHEATRE - SHOT OF AUDIENCE - DAY Thousands of expressionless STUDENTS are sitting there. 4 EXT. AMPHITHEATRE - SHOT OF PODIUM - DAY BEN - and today it is right that we should ask ourselves the one most important question: What is the purpose of these years, the purpose for all this demanding work, the purpose for the sacrifices made those who love us? Were there NOT a purpose, then all of these past years of struggle, of fierce competition and of uncom- promising ambition would be mean- ingless. But, of course, there is a purpose and I must tell it to you. I ask you to remember this purpose always and I pledge that I shall endeavor to carry it with me forever. 5 SHOT - AMPHITHEATRE AUDIENCE - DAY staring at him impassively. 6 INTERCUT BETWEEN SHOTS of impassive students, seated, watching; of Ben standing alone on the huge amphitheatre stage; of CLOSEUPS of Ben speaking; of loudspeakers; of wind-blown papers on the podium. 7 EXT. PODIUM OF AMPHITHEATRE - DAY BEN (continuing) The purpose, my fellow graduates - the purpose is - He stops, trying to think of the word. 8 CLOSEUP - BEN He begins to sweat. 9 SHOT - AMPHITHEATRE AUDIENCE watching. 10 SHOT - PODIUM of AMPHITHEATRE Ben's hands searching through the pages of his speech. The pages begin to blow away in the wind. 11 SHOT - AMPHITHEATRE AUDIENCE - DAY staring. 12 SHOT - PODIUM OF AMPHITHEATRE - DAY BEN - there is a reason, my friends, and the reason is - 13 CLOSEUP - BEN He is in a panic. He looks up from his papers at the audience. 14 SHOT - AMPHITHEATRE - DAY The audience is gone. 15 SHOT - PODIUM OF AMPHITHEATRE - DAY BEN - the reason is - the purpose is - SOUND of the WIND becoming the ROAR of an AIRCRAFT coming at us through the air. 16 SHOT - AMPHITHEATRE - DAY Huge and empty. SOUND of AIRCRAFT. CAPTAIN'S VOICE Ladies and gentlemen, we are about to begin our descent into Los Angeles - SOUND of a SONIC BOOM. CUT TO: 17 INT. PLANE - CLOSEUP - BEN - NIGHT His eyes open suddenly. CAPTAIN'S VOICE The sound you have just heard is the landing gear locking into place. The Los Angeles weather is clear and the temperature is a pleasant 72. We do not expect any traffic delay and will make our four hour and eighteen minute flight plan smack on the nose. We enjoyed having you on board and look forward to seeing you again in the near future. 18 SHOT PULL BACK SLOWLY from a CLOSEUP of a television screen with snow on it to reveal a long row of television sets along the ceiling of the aircraft. There is snow on all of them. 19 REVERSE ANGLE PULL BACK from the CLOSEUP of Ben to reveal a row of passengers staring straight ahead, their headsets on. Ben turns and looks out the window. 20 EXT. LOS ANGELES - FROM THE AIR - NIGHT Los Angeles, at night, its lights stretching endlessly in every direction. SOUND - MUZAC and the STEWARDESS' LANDING SPEECH. START OF MAIN TITLES UNDER titles: STEWARDESS' VOICE Ladies and gentlemen please fasten your seat belts in preparation for the landing and observe the no smoking sign. After we land, you will notice an increase in the sound level as the thrust of the engines is reversed to help reduce forward speed. 21 INT. AIRPORT - MOVING SIDEWALK - NIGHT Ben and the other passengers on the automatic sidewalk. MAN'S VOICE Your attention, please! American Airlines Flight Number 4, 21 Club service, non-stop to New York is now leaving from Gate Number 40. All aboard, please. 28 INT. BEN'S ROOM - NIGHT - CLOSEUP - BEN His eyes are open and he is trying to remember something. There are the SOUNDS of many people TALKING and LAUGHING in other rooms. A RADIO nearby PLAYS MUSIC. After a while, there is the SOUND of a DOOR OPENING. The SOUNDS of the people TALKING are lower. MRS. TERHUNE'S voice can be heard among them. MRS. TERHUNE'S VOICE -- associate editor of the college newspaper in his junior year - managing editor in his senior year - The SOUND of the DOOR CLOSING. Mrs. Terhune's VOICE and the VOICES of the other guests FADE DOWN. Mrs. Terhune's VOICE can be HEARD with varying clarity through the remainder of the sequence. After a few moments, there is the SOUND of a LIGHT SWITCH being SNAPPED and light, as though from an overhead fixture, falls across BEN's face. He does not move. After a few moments, there is the SOUND of the RADIO being SNAPPED OFF. MR. BRADDOCK'S VOICE What's the matter? Ben's mouth opens a little bit and closes again. MR. BRADDOCK'S VOICE The guests are all downstairs, Ben. They're all waiting to see you. BEN Look, Dad - could you explain to them that I have to be alone for a while? MR. BRADDOCK'S VOICE These are all our good friends, Ben. Most of them have known you since - well - practically since you were born. Ben has not moved. Now the bed on which he is lying moves as though someone has sat down upon it next to him. MR. BRADDOCK'S VOICE What is it, Ben? The CAMERA BEGINS TO PULL BACK SLOWLY. BEN I'm just - MR. BRADDOCK - worried? BEN Well - MR. BRADDOCK About what? Ben I guess - about my future. MR. BRADDOCK What about it? BEN I don't know. I want it to be - MR. BRADDOCK To be what? BEN (quietly) Different. As Ben says this, the door to the bedroom opens and MRS. BRADDOCK looks in. MRS. BRADDOCK Is anything wrong? MR. BRADDOCK No! No - we're just on our way downstairs! Mr. Braddock gets off the bed and goes to a chair and picks up Ben's jacket which is lying across it. MRS. BRADDOCK The Carlsons' are here. MR. BRADDOCK (to Mrs. Braddock) They are? (to Ben) Come on. Mr. Braddock puts the jacket on Ben. MRS. BRADDOCK They came all the way from Tarzana. MR. BRADDOCK It's a wonderful thing to have so many devoted friends. They move out of the door, Mr. Braddock steering Ben. 29 INT. HALLS AND STAIRWAY - NIGHT PHIL and MIMI CARLSON are coming up the stairs as the Braddocks are moving down. MR. CARLSON Hey - there's our award winning scholar. MRS. CARLSON We're all very proud of you, Ben. BEN Thank you, Mrs. Carlson. MR. CARLSON Is that the new car out there? The little red Wop job? MR. BRADDOCK That's Ben's graduation present. MR. CARLSON (putting his arm across Ben's shoulder) Won't have much trouble picking them up in that, will you? BEN Sir? MR. CARLSON The girls. The chicks. The - the teeny boppers. MRS. CARLSON I think Ben has gotten beyond the teeny bopper stage - haven't you, Ben? Mrs. Carlson gives Ben a broad wink. Ben tries to smile and return the wink politely. BEN Yes, ma'am. They reach the hall at the bottom of the stairs. BEN Excuse me - I think I'd just like to check something on the car for a minute - Ben moves to the front door and opens it. MR. LOOMIS steps into the house and grabs Ben's hand. MR. LOOMIS Here's the track star himself. How are you, track star? BEN Just fine, Mr. Loomis. Mr. Loomis closes the door and pushes Ben back down the hall. MR. LOOMIS I want to get a drink and then I want to hear all about that thing you won. That Hopperman award. BEN Helpingham. MR. LOOMIS Helpingham! Right! Now you wait right here. Mr. Loomis turns and goes into the dining room. Ben moves back to the stairway as THREE LADIES come out of the living room. One lady takes Ben's right hand, another lady his left, the third fingers the front of his jacket. LADY 1 Ben - we're all so proud of you. LADY 2 Proud, proud, proud, proud, proud. LADY 3 What are you going to do now? BEN I was going to go upstairs for a minute - LADY 3 No - I meant with your future. LADY 2 With your life. BEN Well - that's a little hard to say - MR. MCQUIRE appears behind Ben. MR. MCQUIRE Ben! Ben (to the ladies) Excuse me. (he turns around) Mr. McQuire MR. MCQUIRE (overwhelmed with pride) Ben. BEN Mr. McQuire. Mr. McQuire takes Ben's arm and steers him down the hall toward the back of the house and out through the back door. 30 EXT. BRADDOCK BACKYARD AND POOL AREA - NIGHT The pool is eerily lit. There are FOUR PEOPLE standing and TALKING, drinks in their hands, at the back of the yard. MR. MCQUIRE Ben - I just want to say one word to you - just one word - BEN Yes, sir. MR. MCQUIRE Are you listening? BEN Yes I am. MR. MCQUIRE (gravely) Plastics. They look at each other for a moment. BEN Exactly how do you mean? MR. MCQUIRE There is a great future in plastics. Think about it. Will you think about it? BEN Yes, I will. MR. MCQUIRE Okay. Enough said. That's a deal. Mr. McQuire turns and walks back into the house. The people at the other end of the yard look toward Ben. WOMAN #1 Here he is now. Here's Ben. BEN Excuse me just a minute - Ben goes into the house through the back door. 31 EXT. BRADDOCK BACKYARD AND POOL AREA - NIGHT We can see through the windows of the house, Ben making his way through people trying to stop him and speak to him as he goes through rooms, up the stairs and to his room. SOUND of a door SLAMMING. 32 INT. - EXT. BEN'S ROOM - NIGHT Ben stands with his back against the door. The SOUNDS of the PARTY downstairs and, as Ben walks across the room to a window, the SOUND of the WIND. 32A SHOT - LONG SHOT (Location) Over Ben to pool area and people below. SOUND of the door OPENING. Ben turns. MRS. ROBINSON enters the room. MRS. ROBINSON Oh. I guess this isn't the bathroom, is it? BEN It's down the hall. They stand for a moment, loocking at each other. MRS. ROBINSON How are you, Benjamin? BEN Fine, thank you. The bathroom is down at the end of the hall. Mrs. Robinson moves into the room and sits on the edge of the bed. BEN Look, Mrs. Robinson, I don't mean to be rude but - Mrs. Robinson takes a cigarette from her purse and lights it. MRS. ROBINSON Is there an ashtray in here? BEN No. MRS. ROBINSON Oh - I forgot. The track star doesn't smoke. She blows out the match and puts it down carefully on the bedspread. Ben picks up a wastebasket, walks over to the bed, picks up the match and puts it in the wastebasket. MRS. ROBINSON Is it a girl? BEN Is what a girl? MRS. ROBINSON Whatever it is you're upset about. BEN Oh - no. I'm just sort of disturbed about things. MRS. ROBINSON In general. BEN That's right. There is a long pause. MRS. ROBINSON Benjamin, I want to ask you something. BEN What? MRS. ROBINSON Will you take me home? BEN What? MRS. ROBINSON My husband took the car. Will you drive me home? Ben reaches into his pocket and hands Mrs. Robinson a set of car keys. BEN Here - you take it. Mrs. Robinson looks at him. BEN Do you know how to work a foreign shift? Mrs. Robinson shakes her head. BEN You don't? MRS. ROBINSON No. (there is a pause) BEN Let's go. She throws the keys to him. He catches them. CUT TO: 33 EXT. BRADDOCK HOUSE - NIGHT SHOOTING THROUGH THE OPEN FRONT DOOR. Mr. Braddock is talking to the Terhunes at the door. Ben and Mrs. Robinson come down the hall. BEN Dad - Mrs. Robinson needs a ride home. I'll be right back. Mr. Braddock pats Ben on the shoulder. Mrs. Robinson is walking ahead through the front door. MRS. ROBINSON (as she passes the CAMERA) Wonderful party. CUT TO: 34 OMITTED 35 EXT. ROBINSON HOUSE - NIGHT The car comes to a stop in the Robinson driveway. They sit for a moment. MRS. ROBINSON Thank you. BEN Right. She doesn't move. Ben gets out and goes around to her side and opens the door. MRS. ROBINSON Will you come in, please? BEN What? MRS. ROBINSON I want you to come in till I get the lights on. BEN What for? MRS. ROBINSON Because I don't feel safe until I get the lights on. They move to the door. She takes out her key and opens the door. 36 INT. ROBINSON HALL AND SUNROOM - NIGHT MRS. ROBINSON Would you mind walking ahead of me to the sun porch. I feel funny about coming into a dark house. BEN But it's light in there now. MRS. ROBINSON Please. Ben turns and walks down the hall. They enter sunroom. MRS. ROBINSON What do you drink? Bourbon? BEN Look - I drove you home. I was glad to do it. But I have some things on my mind. Can you understand that? She nods. BEN All right then. MRS. ROBINSON What do you drink? He looks at her. MRS. ROBINSON Benjamin - I'm sorry to be this way, but I don't want to be alone in this house. BEN Why not? MRS. ROBINSON Please wait till my husband gets home. BEN When is he coming back? MRS. ROBINSON I don't know. She pours herself a drink. MRS. ROBINSON Drink? BEN No. She hands him a drink. There is a pause. BEN Are you always this much afraid of being alone? MRS. ROBINSON Yes. BEN Well, why can't you just lock the doors and go to bed? MRS. ROBINSON I'm very nuerotic. She turns on the phonograph. SOUND of PHONOGRAPH. MRS. ROBINSON May I ask you a question? Ben looks at her. MRS. ROBINSON What do you think of me? BEN What do you mean? MRS. ROBINSON You've known me nearly all of your life. You must have formed some opinion. BEN Well - I've always thought that you were a very - nice - person. MRS. ROBINSON Did you know I was an alcoholic? BEN What? MRS. ROBINSON Did you know that? BEN Look - I think I should be going - MRS. ROBINSON Sit down, Benjamin. BEN Mrs. Robinson - if you don't mind my saying so - this conversation is getting a little strange. Now I'm sure that Mr. Robinson will be here any minute and - MRS. ROBINSON No. BEN What? MRS. ROBINSON My husband will be back quite late. They look at each other. Ben is half standing. MRS. ROBINSON He should be gone for several hours. She takes a step toward him. He puts his hand up and retreats around the other side of the chair. BEN Oh my God. MRS. ROBINSON Pardon? BEN Oh no, Mrs. Robinson, oh no. MRS. ROBINSON What's wrong? BEN Mrs. Robinson, you didn't - I mean you didn't expect - MRS. ROBINSON What? BEN I mean - you didn't really think that I would do something like that. MRS. ROBINSON Like what? BEN What do you think? MRS. ROBINSON Well I don't know. BEN For God's sake, Mrs. Robinson, here we are, you've got me into your house. You give me a drink. You put on music, now you start opening up your personal life to me and tell me your husband won't be home for hours. MRS. ROBINSON So? BEN Mrs. Robinson - you are trying to seduce me. There is a pause. She looks at him. BEN (weaker) Aren't you? MRS. ROBINSON Why no. I hadn't thought of it. I feel rather flattered that you - BEN Mrs. Robinson, will you forgive me for what I just said? MRS. ROBINSON It's all right. BEN It's not all right, it's the worst thing I've ever said to anyone. MRS. ROBINSON Sit down. BEN Please forgive me. Because I like you. I don't think of you that way. But I'm mixed up. MRS. ROBINSON All right. Now finish your drink. BEN Mrs. Robinson, it makes me sick that I said that to you. MRS. ROBINSON We'll forget it right now. Finish your drink. BEN What is wrong with me? MRS. ROBINSON Have you ever seen Elaine's portrait? BEN Her portrait? MRS. ROBINSON Yes. BEN No. MRS. ROBINSON We had it done last Christmas. Would you like to see it? BEN Very much. We move with Mrs. Robinson and Ben out of the sunroom, into the hall, up the stairs and along the hall to the doorway to Elaine's room. 37 INT. ELAINE'S ROOM - NIGHT Ben moves into the room and looks up at the portrait. BEN Elaine certainly is an attractive girl, isn't she? In the b.g. Mrs. Robinson watches him. BEN (looking at the portrait) I don't remember her as having brown eyes. MRS. ROBINSON Benjamin? BEN Yes? MRS. ROBINSON Will you unzip my dress? He steps back. MRS. ROBINSON I think I'll go to bed. BEN Oh. Well, goodnight. MRS. ROBINSON Won't you unzip my dress? BEN I'd rather not, Mrs. Robinson. MRS. ROBINSON If you still think I'm trying to seduce you - BEN No, I don't. But I just feel a little funny. MRS. ROBINSON Benjamin - you've known me all your life. BEN I know that. But I'm - MRS. ROBINSON Come on. She turns her back. MRS. ROBINSON It's hard for me to reach. Ben reaches forward and pulls the zipper down. MRS. ROBINSON Thank you. BEN Right. Ben walks toward the door. MRS. ROBINSON What are you so scared of? BEN I'm not scared, Mrs. Robinson. MRS. ROBINSON Then why do you keep running away? BEN Because you're going to bed. I don't think I should be up here. Mrs. Robinson lets her dress fall to the floor. MRS. ROBINSON Haven't you ever seen anybody in a slip before? BEN Yes, I have - He looks up at the portrait of Elaine. BEN But I just - Look - what if Mr. Robinson walked in right now? MRS. ROBINSON What if he did? BEN Well, it would look pretty funny, wouldn't it? MRS. ROBINSON Don't you think he trusts us together? BEN Of course he does. But he might get the wrong idea. Anyone might. MRS. ROBINSON I don't see why. I'm twice as old as you are. How could anyone think - BEN But they would! Don't you see? MRS. ROBINSON Benjamin - I'm not trying to seduce you. I wish you'd - BEN I know that. But please, Mrs. Robinson. This is difficult for me. MRS. ROBINSON Why is it? BEN Because I am confused about things. I can't tell what I'm imagining. I can't tell what's real. I can't - MRS. ROBINSON Would you like me to seduce you? BEN What? MRS. ROBINSON Is that what you're trying to tell me? BEN I'm going home now. I apologize for what I said. I hope you can forget it. But I'm going home right now. Benjamin walks out of the door and down the hall. The CAMERA PUSHES with him to the door. We see the entire stairway and part of the downstairs hall. Ben gets to the stairs and starts down. MRS. ROBINSON'S VOICE BENJAMIN? BEN Yes. MRS. ROBINSON'S VOICE Will you bring up my purse before you go? BEN I have to go now. I'm sorry. Mrs. Robinson walks into the hall. Her back is to us. She is holding her dress in front of her. MRS. ROBINSON I really don't want to put this on again. Won't you bring it up? BEN Where is it? MRS. ROBINSON On that chair in the hall. She walks out of the shot. BEN Mrs. Robinson? MRS. ROBINSON'S VOICE I'm in the bathroom. BEN Well here's the purse. MRS. ROBINSON'S VOICE Could you bring it up? BEN Well I'll hand it to you. Ben starts back up the stairs. BEN Come to the railing and I'll hand it up. MRS. ROBINSON'S VOICE Benjamin - I am getting pretty tired of all this suspicion. Now if you won't do me a simple favor I don't know what. Ben appears as he slowly climbs the stairs. BEN I'm putting it on the top step. MRS. ROBINSON'S VOICE For God's sake, Benjamin, will you stop acting that way and bring me the purse? Ben gets to the top of the stairs, and starts slowly down the hall. BEN I'm putting it here by the door. MRS. ROBINSON'S VOICE Will you bring it in to me? BEN I'd rather not. MRS. ROBINSON'S VOICE All right. Put it in the room where we were. BEN Right. 38 INT. ELAINE'S ROOM - NIGHT Ben walks quickly into Elaine's room, crosses to the bed and puts the purse down. As he starts to turn back, he looks up at Elaine's portrait. There is a movement reflected in the glass of the portrait. He turns quickly. Mrs. Robinson, naked, is shutting the door to the bedroom behind her. BEN Oh God. She smiles. BEN Let me out. She turns the lock on the door. MRS. ROBINSON Don't be nervous. BEN Get away from that door. MRS. ROBINSON I want to say something first. BEN Jesus Christ! MRS. ROBINSON Benjamin - I want you to know I'm available to you. If you won't sleep with me this time - BEN Oh my God. MRS. ROBINSON If you won't sleep with me this time, Benjamin, I want you to know you can call me up any time you want and we'll make some kind of arrangement. BEN Let me out! MRS. ROBINSON Do you understand what I said? BEN Yes. Yes. Let me out! MRS. ROBINSON Because I find you very attractive and any time - There is the SOUND of a CAR in the driveway outside. Ben leaps at the door, pushes Mrs. Robinson aside, struggles with the door, gets the door open, runs into the hall and down the stairs. 39 INT. SUNROOM - NIGHT Ben rushes into the sunroom and sits down. SOUND of FOOTSTEPS on the driveway outside. Ben jumps up, gets the glass he had been drinking from and sits down again. SOUND of the front door OPENING and CLOSING. MR. ROBINSON'S VOICE Is that Ben's car in front? BEN (jumping up) Yes, sir! FOOTSTEPS approach the sunroom. MR. ROBINSON enters. BEN I drove - I drove Mrs. Robinson home. She wanted me to drive her home so I - I drove her home. MR. ROBINSON Swell. I appreciate it. BEN She's upstairs. She wanted me to wait down here till you got home. MR. ROBINSON Standing guard over the old castle, are you? BEN Yes, sir. Mr. Robinson reaches for Ben's glass. MR. ROBINSON Here. It looks like you need a refill. BEN Oh no. MR. ROBINSON What? BEN I've got to go. MR. ROBINSON Is anything wrong? You look a little shaken up. BEN No. No - I'm just - I'm just a little worried about my future. I'm a little upset about my future. Mr. Robinson takes the glass from him. MR. ROBINSON Come on. Let's have a nightcap together. Mr. Robinson turns his back to Ben to mix the drinks. Ben takes several deep breaths, straightens his tie and checks to see if his fly is okay. Mr. Robinson turns and brings him the drink. BEN Thank you very much, sir. MR. ROBINSON Ben - how old are you now? BEN Twenty. I'll be twenty-one next week. MR. ROBINSON (taking out a cigarette) That's a hell of a good age to be. BEN Thank you. MR. ROBINSON I wish I was that age again. Because, Ben - BEN Sir? MR. ROBINSON You'll never be young again. BEN I know. MR. ROBINSON Ben, can I say something to you? BEN What? MR. ROBINSON How long have we known each other now? Ben shakes his head. MR. ROBINSON How long have you and I known each other? How long have your Dad and I been partners? BEN Quite a while. MR. ROBINSON I've watched you grow up, Ben. BEN Yes, sir. MR. ROBINSON In many ways I feel as though you were my own son. BEN Thank you. MR. ROBINSON So I hope you won't mind my giving you a friendly piece of advice. BEN I'd like to hear it. MR. ROBINSON Ben - I think - I think you ought to be taking it a little easier right now than you seem to. Ben nods. MR. ROBINSON Sow a few wild oats. Take things as they come. Have a good time with the girls and so forth. Mrs. Robinson enters the room. She is now wearing the dress she wore earlier. Ben starts to get up. MRS. ROBINSON Don't get up. Ben sits. MR. ROBINSON I was just telling Ben here he ought to sow a few wild oats. Have a good time while he can. You think that's sound advice? Mrs. Robinson nods. MRS. ROBINSON Yes, I do. BEN I've got to go. He stands. Mr. Robinson stands up with him. MR. ROBINSON You have yourself a few flings this summer. I bet you're quite a ladies' man. BEN Oh no. MR. ROBINSON What? You look like the kind of guy that has to fight them off. (to Mrs. Robinson) Doesn't he look to you like the kind of guy who has to fight them off? MRS. ROBINSON Yes, he does. They start out of the sunroom. 40 INT. ROBINSON HALL - NIGHT MR. ROBINSON Oh say - Elaine gets down from Berkeley on Saturday. BEN Oh yes. MR. ROBINSON Ben - I want you to give her a call. BEN I will. MR. ROBINSON Great. Mr. Robinson opens the front door and Ben goes out. 41 EXT. ROBINSON HOUSE - NIGHT SHOOTING OVER THE CAR toward the house. Ben comes toward the car. Mrs. Robinson appears in the doorway; the light behind her makes it difficult to see her face. MRS. ROBINSON Benjamin? BEN Yes. MRS. ROBINSON Thank you for taking me home. Ben nods. MRS. ROBINSON I'll see you soon, I hope. Ben continues to walk toward us. MR. BRADDOCK'S VOICE Ladies and gentlemen - your attention, please - for this after- noon's feature attraction. CUT TO: 42 EXT. BRADDOCK BACKYARD AND POOL AREA - DAY The sun shines brightly. Standing and sitting around the pool are Mr. and Mrs. Braddock, their friends MR. and MRS. ARNOLD, and the Arnold children, PETER and LOUISE, who are eight or nine. Watching from across the fence on one side of the house: the young girl from next door and her boy friend. Across the fence on the other side of the house: a quartet of adults, formally dressed as though for a cocktail party, holding drinks and watch- ing. One of them holds a baby. The Braddocks, the Arnolds and their children are dressed in California Contemporary Sport Style: the adults in styles infinitely too young for them, the children in styles infinitely too old for them. Mr. Braddock stands alone at the end of the pool near the house. The others are grouped, more or less, at the other end. Mr. Braddock is hamming it up. MR. BRADDOCK Hey, over there -- I mean you! Your attention please! Mr. Braddock has moved over by one of the windows of the house, the window into the kitchen. He speaks quickly - in a fake sotto voce - towards the window. MR. BRADDOCK Are you ready in there, feature attraction? BEN'S VOICE Could I speak to you for a second, Dad? But Mr. Braddock has already moved away from the window and is readdressing his audience. MR. BRADDOCK - what was I saying? MRS. ARNOLD Feature attraction. MR. BRADDOCK Right. Hey - I'm glad to see you're paying attention. A feature attraction that will be one of the most astounding events ever to take place in this particular backyard. They all laugh and some applaud. MR. BRADDOCK Now I'm going to ask for a big round of applause to bring this boy out here - wait a minute - let me amend that - to bring this young man out here - because today he is twenty-one-years- old - MR. ARNOLD (his hands like a megaphone) Let's get on with the show! MR. BRADDOCK Just hang on a minute because I have a few words to say - MR. ARNOLD You always do. They laugh; Mrs. Arnold makes a face at Mr. Arnold as he grinningly acknowledges the reponse to his snappy comeback. BEN'S VOICE Dad - could we just talk about this for a second? MR. BRADDOCK Twenty-one-years-old, ladies and gentlemen; four of those years spent accomplishing some rather extraordinary things at one of our nation's leading seats of learning - MR. ARNOLD Bring him out! PETER AND LOUISE On with the show! On with the show! MR. BRADDOCK (to the window) I can't hold them much longer, Ben. You better get out here. BEN'S VOICE I'd like to discuss this. MR. BRADDOCK (to his audience) This boy - I'm sorry - this young man - is soon to continue his education as a Frank Halping- ham Award Scholar - but before he does - Mr. Braddock darts back to the window. MR. BRADDOCK - before he does - (to the window) You're disappointing them, Ben. You're disappointing them. BEN'S VOICE Dad - can you listen - MR. BRADDOCK (meaning it) I'll give you ten seconds. (back to the people) He is going to give us a practical demonstration of what I feel safe in saying is a pretty exciting birthday present - and it better work or I'm out over two hundred bucks - so let's hear it for - Mr. Braddock moves to the screen door and pushes it open. It slams against the wall inside. MR. BRADDOCK - Benjamin Braddock! 44 INT. BRADDOCK BREAKFAST KITCHEN - SHOT DOWN THE HALL - DAY At the back of the hall, inside the house, stands Ben, dressed in a full length skin diver's wet suit, flippers on his feet, the oxygen tank strapped to his back, the mask pushed up his forehead, the air hose dangling. He holds a spear gun in his hand. The people applaud. 45 EXT BRADDOCK BACKYARD AND POOL AREA - DAY SHOT - FROM BEN'S POV The people in the backyard. His father stands just outside the screen door. MR. BRADDOCK Folks - this remarkable young man is going to perform for you some spectacular and amazing feats of daring in water that is over six feet deep - Ben's arms come into view and pull the mask down. We are now looking through the mask as we MOVE FORWARD down the hall. Everything is slightly distorted through the glass. Ben's hand comes up again with the breathing apparatus in it. SOUND: the rythmic PUMPING of air, obliterating the SOUND of the people around the pool who seem to be applauding and chattering noiselessly. We MOVE out of the door and toward the pool. Mr. Braddock is running back and forth, clapping his hands and delivering his now soundless pitch. We MOVE DOWN the steps and into the shallow end of the pool. Mr. Braddock is moving along the side of the pool, motioning toward us to come down to the deep end. He joins Mr. Arnold at the far end of the pool. They both begin to motion us toward them. We get to the deep end of the pool. Mr. Braddock signals us with his hand to go under. He kneels down by the edge of the pool and reaches out with his hand and pushes us under. He has a big smile. We SURFACE again and PAN AROUND for a last look. The figures, through the slightly distorted glass of the mask of Mrs. Arnold and Mrs. Braddock, watching and smiling; the neighbors on each side of the house, looking over their fences and laughing and pointing; Mr. Arnold nodding encouragement and talking; Mr. Braddock on his knees, smiling and trying to reach out far enough to push us under. We GO UNDER and SINK to the bottom of the pool. 46 EXT. BRADDOCK BACKYARD AND POOL AREA - DAY OVERHEAD SHOT (HELICOPTER POV) Looking down on the pool, on Ben's black suited body at the bottom and the people standing around the pool, looking down into it. PULL UP AND UP AND UP Until there are thirty houses below us, with its owners, swimming, playing, eating, cooking, reading, dancing, sunbathing, constructing and gardening around thirty pools. SOUND of Ben's BREATHING APPARATUS, fading into the SOUND of the WIND. Hold for a few seconds, then: SOUND of a dime DROPPING into a pay phone and DIALING. DISSOLVE TO: 47 INT. TAFT HOTEL LOBBY - NIGHT - CLOSEUP - BEN In a phone booth. The booth is in the entrance area of the hotel between the lobby and the driveway. Ben holds the receiver to his ear. SOUND of PHONE RINGING. MRS. ROBINSON'S VOICE Hello. BEN Mrs. Robinson - I don't quite know how to put this - MRS. ROBINSON'S VOICE Benjamin? BEN Look - I was thinking about that time after the party - MRS. ROBINSON'S VOICE Where are you? BEN - and I was wondering if I could buy you a drink or something - MRS. ROBINSON'S VOICE Where are you? BEN Uh - The Taft Hotel. MRS. ROBINSON'S VOICE Did you get a room? BEN No. Now I know it's pretty late and if you'd rather - MRS. ROBINSON'S VOICE Give me an hour. BEN What? MRS. ROBINSON'S VOICE I'll be there in an hour. SOUND of her HANGING UP. Ben hangs up slowly. He stands up in the booth, looks around, moves about uncomfortably for a few moments, removes his jacket and carrying it folded across his arm in front of him, leaves the phone booth and crosses to the doors that lead to the main lobby. As he is about to go in, the doors open and a group of VERY OLD PEOPLE start coming out, filling the doorway and moving very slowly, muttering to each other and helping each other out of the door and down the steps. Ben holds one of the doors open for them and stands politely to one side. As they get through, Ben starts to move inside. At that moment, A DOZEN YOUNG PEOPLE, dressed as though for a high school dance, push him to one side and move past him into the lobby. He moves back against the other door, holding it open and allowing them to go in first. He smiles politely and they pay no attention to him at all. He follows them into the lobby. They move toward the front desk and he moves with them. One of the boys at the front of the group leans in and says something to the CLERK behind the desk. The clerk points across the lobby and says something to him. There are the SOUNDS of an orchestra PLAYING some- where. The group of young people passes by the desk and Ben moves in behind them. He pauses at the desk and looks apprehensively at the hundreds of pigeon holes against the wall with the room numbers painted under them and the keys dangling suggestively. ROOM CLERK Can I help you, sir! BEN What? Oh - no - I'm just - He points vaguely in the direction of the other young people. ROOM CLERK Are you here for an affair, sir? Terror and disbelief start in Ben's eyes. He looks helplessly at the clerk. BEN What? ROOM CLERK The Singleman party, sir? BEN Oh - yes. The Singleman party. ROOM CLERK It's in the main ballroom. BEN Ahh - thank you. Ben backs off and turns and starts across the lobby. He puts on his jacket as he goes. He gets to the entrance to the main ballroom. He pauses at the door, looks in. What he sees: People dancing, talking, sitting, etc. He turns back toward te lobby. He stops. What he sees: The room clerk scross the lobby watching him. Ben flashes a huge smile and points in toward the ballroom as though to express his joy at finding the Singleman affair inside, then turns back and enters the ballroom. 48 INT. BALLROOM - NIGHT As Ben steps inside. VOICE Hello. Ben turns. Four people stand in a row. Official greeters, they are: A MIDDLE-AGED WOMAN, AN OLDER MAN, AN ELDERLY LADY AND A TWELVE-YEAR-OLD BOY, dressed formally and they are smiling with great determination. BEN Hello. It is the older lady who has said hello. MRS. SINGLEMAN You must be one of the Porters. She grasps Ben's hand and shakes it. BEN No - actually I'm not - MRS. SINGLEMAN I'd like you to know my sister, Miss DeWitte - MISS DEWITTE, who, from the looks of things, always has been and always will be, Miss DeWitte, takes Ben's hand. MISS DeWITTE How do you do? BEN How do you do, Miss DeWitte? MRS. SINGLEMAN - and my husband, Mr. Singleman - Ben finds himself shaking the twelve-year-old boy's hand. BEN (apologetically) Oh - sorry - JEFFREY SINGLEMAN Fine, thank you. MRS. SINGLEMAN That's Jeffrey, of course. Ben switches to Mr. Singleman's hand. BEN Of course. MR. SINGLEMAN I didn't get your name, sir. BEN Benjamin Braddock, sir. Mrs. Singleman looks at the seating list she has been holding. MRS. SINGLEMAN Braddock - Braddock? BEN Yes, but I'm afraid - MRS. SINGLEMAN I'll find your table in a moment. Braddock. Not Braniff? We have a Braniff. BEN No - actually I'm just looking for a friend. MRS. SINGLEMAN I'm afraid I don't understand. BEN (backing off) I'm not with your party - I'm sorry. MRS. SINGLEMAN Hey - I don't get it. Ben is backing out. MISS DeWITTE I've enjoyed meeting you, Mr. Braniff. MRS. SINGLEMAN Angela - please! Ben backs out of the ballroom. 49 INT. HOTEL LOBBY - NIGHT Ben crosses the lobby, passing PEOPLE going in and out of the hotel. He stops at the entrance of the Veranda Room: 50 INT. VERANDA ROOM - NIGHT This is a large room with a bar and many tables along the windows that look out over the hotel grounds. It is quite dark and cool inside and there are no more than a dozen people seated around. The CAMERA STAYS at the door as Ben walks into the room and crosses to the far end where he sits down at the table by the window. PUSH IN toward Ben as he sits there. MUZAK is playing. CUT TO: 51 ANGLE ON BEN sitting smoking. CUT TO: 52 NEW ANGLE ON BEN sitting. CUT TO: 53 NEW ANGLE ON BEN sitting drinking. CUT TO: 54 ANGLE ON BEN In the door to the lobby in the b.g. is Mrs. Robinson. She pauses, looks into the room, sees Ben and starts toward him. Ben is looking out the window. He does not see her approach. MRS. ROBINSON Hello, Benjamin. BEN Oh. Hello. Hello. He rises quickly. MRS. ROBINSON May I sit down? BEN Of course. He pulls out a chair, for her. MRS. ROBINSON Thank you. They sit down. MRS. ROBINSON How are you? BEN Very well. Thank you. Ben tries to smile then looks out the window, then down at the center of the table. MRS. ROBINSON May I have a drink? BEN A drink? Of course. Ben looks toward a passing WAITER and raises his hand. The waiter pays no attention. Ben looks back at Mrs. Robinson apologetically. BEN He didn't see me. MRS. ROBINSON Waiter! For a moment, the noise in the room seems to recede. The waiter stops in his tracks, turns toward them. The waiter moves to their table. The noise in the room comes back. The waiter looks at Mrs. Robinson. MRS. ROBINSON I will have a martini. WAITER No. 1 Yes, madam. The waiter moves away. Ben watches him go. MRS. ROBINSON You don't have to be so nervous, you know. BEN Nervous. Well, I am a bit nervous. I mean it's - it's pretty hard to be suave when you're - He shakes his head. MRS. ROBINSON Did you get us a room? BEN What? MRS. ROBINSON Have you gotten us a room yet? BEN I haven't. No. MRS. ROBINSON Do you want to? BEN Well - I don't. I mean I could. Or we could just talk. MRS. ROBINSON Do you want me to get it? BEN You? Oh no. No. I'll get it. MRS. ROBINSON Do you want to get it now? BEN Now? MRS. ROBINSON Yes. BEN Well - I don't know. MRS. ROBINSON Why don't you get it. BEN Why don't I get it? Well - I will then. (he stands up) If you'll excuse me. Ben walks out of the Veranda Room and into the lobby. 55 INT. HOTEL LOBBY - NIGHT Ben walks to the front desk and stands there. ROOM CLERK Yes sir? BEN A room. I'd like a room, please. ROOM CLERK A single room or a double room? BEN A single. Just for myself, please. ROOM CLERK Will you sign the register, please? He pushes the card and a pen toward Ben. Ben writes his name on the card and then stares at it for a moment, crumples it up and fills out a second card. ROOM CLERK Is anything wrong, sir? BEN What? No. Nothing. ROOM CLERK (taking a key from behind the counter) Do you have any luggage, Mister -- (looks at registration card) Gladstone? BEN Luggage? Yes. Yes. I do. ROOM CLERK Where is it? BEN What? ROOM CLERK Where is your luggage? BEN Well it's in the car. It's out in the car. ROOM CLERK Very good, sir. I'll have a porter bring it in. BEN Oh no. ROOM CLERK Sir? BEN I mean I'd - I'd rather not go to the trouble of bringing it all in. I just have a toothbrush. I can get it my- self. If that's all right. ROOM CLERK Of course. Ben reaches for the key. ROOM CLERK I'll have a porter show you the room. BEN Oh. Well actually, I'd just as soon find it myself. I just have the toothbrush to carry up and I think I can manage it myself. ROOM CLERK Whatever you say, sir. He hands Ben the key. BEN Thank you. 56 INT. VERANDA ROOM - NIGHT Mrs. Robinson sits, patiently and calmly. Her face betrays absolutely nothing as she stares ahead of her and sips her martini. WAITER No. 1 Mrs. Robinson. She looks up. A waiter is standing next to the table with a telephone. MRS. ROBINSON Yes? The waiter plugs the phone into the wall socket next to the table and hands her the receiver. MRS. ROBINSON Thank you. The waiter nods and leaves. MRS. ROBINSON (into phone) Hello. BEN'S VOICE Mrs. Robinson? MRS. ROBINSON Yes? BEN'S VOICE It's Benjamin. MRS. ROBINSON Yes? BEN'S VOICE Benjamin Braddock. MRS. ROBINSON Benjamin -- where are you? BEN'S VOICE Can you look through the glass. Mrs. Robinson turns in her chair and looks through the glass into the lobby. 57 INT. LOBBY - PHONE BOOTH - NIGHT - WHAT SHE SEES Ben is in the phone booth in the lobby no more than twenty feet away. BEN'S VOICE Can you see me now? MRS. ROBINSON Yes, I can. 58 INT. LOBBY PHONE BOOTH Over Ben's shoulder, we can see his face reflected in the glass door and, through it, Mrs. Robinson sitting in the Veranda Room. INTERCUT PHONE CONVERSATION BEN I got a single room. MRS. ROBINSON That's fine. BEN But there's one thing. The desk clerk seemed to be a little bit suspicious. I mean - I don't know what their policy is - but - MRS. ROBINSON Well - do you want to go up first? BEN Yes - I think that would be good. MRS. ROBINSON I'll be up in five minutes. BEN Well - goodbye then - MRS. ROBINSON Benjamin. BEN Yes? MRS. ROBINSON Isn't there something you want to tell me? BEN To tell you? MRS. ROBINSON Yes. BEN Well - I want you to know how much I appreciate this - really - MRS. ROBINSON The number. BEN What? MRS. ROBINSON The room number, Benjamin. I think you ought to tell me that. BEN Oh? You're absolutely right. Absolutely. It's 512. MRS. ROBINSON Thank you. BEN You're welcome. Well - I'll see you later, Mrs. Robinson. He hangs up. 59 INT. LOBBY - PHONE BOOTH - SHOT - BEN He leaves the hpone booth and walks back into the main lobby. 60 INT. HOTEL LOBBY - NIGHT As he passes the desk, on his way to the elevator, he starts to pat his breast pocket. BEN I've got it. The desk clerk looks up. BEN I say I've got it. CLERK Sir? BEN The toothbrush. I got it all right. CLERK Very good, sir. BEN Yes. Well - goodnight. CLERK Goodnight, sir. Ben walks out of shot. 60A INT. HOTEL CORRIDOR - NIGHT Ben leaves elevator, walks down corridor to hotel room and opens door. 61 INT. HOTEL ROOM - NIGHT Ben closes the door behind him and leans with his back against it for a few moments looking at the room. The only light is that coming in the window. Ben turns on the light switch on the wall near the door. The room blazes with the light from three lamps and an overhead fixture. He turns the switch off. He crosses to the bathroom. Ben steps in and turns on the light. 61 INT. HOTEL ROOM - NIGHT Ben steps out, moves to the window. We see the pool area through the window. Ben closes the blinds. 61Cont.There is a KNOCK on the door. Ben crosses to the door and opens it. Mrs. Robinson moves to the bureau and puts her purse and gloves on it. She looks at herself in the mirror for a moment then turns slowly, looking at the room, finally ending on Ben's face. She steps toward him. MRS. ROBINSON Well? He clears his throat and then he kisses her. BEN Well. MRS. ROBINSON Benjamin. BEN Yes? MRS. ROBINSON I'll get undressed now. Is that all right? BEN Sure. Shall I - I mean shall I just stand here? I mean - I don't know what you want me to do. MRS. ROBINSON Why don't you watch? BEN Oh - sure. Thank you. She takes off her jacket. MRS. ROBINSON Will you bring me a hanger? BEN What? MRS. ROBINSON A hanger. Ben opens the closet door. BEN Oh - yes. Wood? MRS. ROBINSON What? BEN Wood or wire? They have both. MRS. ROBINSON Either one will be fine. BEN Okay. He brings her a hanger. She puts her jacket on it. MRS. ROBINSON Will you help me with this, please? She turns her back. BEN Certainly. He undoes the zipper at her neck. MRS. ROBINSON Thank you. BEN You're welcome. She turns and looks at him. He backs away. MRS. ROBINSON Would this be easier for you in the dark? BEN Mrs. Robinson - I can't do this. MRS. ROBINSON You what? BEN This is all terribly wrong. MRS. ROBINSON Benjamin - do you find me undesirable? BEN Oh no, Mrs. Robinson. I think - I think you're the most attractive of all my parents' friends. I just don't think we could possibly -- MRS. ROBINSON Are you afraid of me? BEN No - but look - maybe we could do something else together, Mrs. Robinson - would you like to go to a movie. MRS. ROBINSON Benjamin, is this your first time? BEN Is this - what? MRS. ROBINSON It is, isn't it? It is your first time. BEN That's a laugh, Mrs. Robinson. That's really a laugh. Ha ha. MRS. ROBINSON You can admit that, can't you? BEN Are you kidding? MRS. ROBINSON It's nothing to be ashamed of - BEN Wait a minute! MRS. ROBINSON On your first time - BEN Who said it was my first time. MRS. ROBINSON That you're afraid - BEN Wait a minute. MRS. ROBINSON - of bring - inadequate - I mean just because you happen to be inadequate in one way - BEN INADEQUATE! LONG pause. MRS. ROBINSON (starting to dress) BEN Don't move. He slams the bathroom door shut. The light in the room disappears. FADE OUT FADE IN 62 EXT. BRADDOCK BACKYARD AND POOL AREA - DAY The midsummer sun beats down on the Braddock swimming pool and on Ben who lies on a rubber raft in the middle of the pool. Ben wears dark glasses, is deeply tanned, and holds a beer can in one hand. SOUNDS: teenagers YELLING and swimming in nearby pools; a radio PLAYING rock and roll; a television set TUNED to a ball game. DISSOLVE TO: 63 CLOSER SHOT - BEN drifting. DISSOLVE TO: 64 CLOSER ANGLE ON BEN drifting. DISSOLVE TO: 65 CLOSE SHOT - BEN SOUND of the back door CLOSING. Ben opens his eyes and moves his head slightly. 66 WHAT HE SEES Mr. Braddock is passionately stoking a barbeque fire. Mrs. Braddock is going toward him from the house, carrying some ominously large thing wrapped in tinfoil. 67 SHOT - BEN He rolls off the raft and swims to the end of the pool. He climbs out, walks to the back door, takes his shirt from a chair and starts to put it on as he opens the back door and goes through. 68 INT. SPECIAL SET - TAFT HOTEL ROOM Ben has just shut the door to the bathroom behind him. He is wearing his shirt, buttoned, and no trousers. PAN WITH BEN as he walks across the room past Mrs. Robinson who is standing in front of the bureau taking off her brace- let and watch. He moves to a chair and sits. He picks up a cigarette from an ashtray on a table next to the chair. Mrs. Robinson moves in to Ben, kneels in front of him and starts to unbutton his shirt. He takes the cigarette out of his mouth. 69 INT. SPECIAL SET - BRADDOCK DEN AND DINING ROOM - NIGHT SHOT - NEW ANGLE We now see behind Ben the door that leads from the Braddock den, in which Ben is sitting. In the dining room, Mr. and Mrs. Braddock are sitting, having their dinner, looking through the doorways toward Ben. Ben stands, crosses back to the door to the den and shuts it. 70 INT. BRADDOCK DEN - NIGHT - REVERSE On Ben's back as he returns to the chair and sits. A television set, facing the chair, is on. Ben picks up a can of beer and drinks from it. An animated cartoon is playing on the television set. Ben watches it. 71 REVERSE Ben's face, watching. PUSH IN to CLOSEUP of his face. 72 REVERSE CLOSEUP of television set and cartoon. 73 REVERSE Ben watching. 74 REVERSE CLOSEUP test pattern. CUT TO: 75 INT. TAFT HOTEL ROOM - NIGHT CLOSEUP Ben watching. PULL BACK and we are in the Taft Hotel Room. Ben is sitting on the bed, leaning against the headboard, watching the television set which is on a stand facing the bed. SOUND of the HUM of the test pattern. PULL BACK to a WIDE SHOT of the room, lit only by the light from the television set. Mrs. Robinson walks into the shot, half dressed. She passes between Ben and the television set and goes out of frame. Ben continues to stare at the set. SOUND of a ZIPPER being pulled up. Mrs. Robinson appears again and passes the other way. SOUND of BRACELETS being put on. Mrs. Robinson passes back the other way again. SOUND of CLOTHING being put on and a PURSE being snapped closed. Mrs. Robinson, now fully dressed and carrying her purse, passes through again and, without looking at Ben, goes to the door of the hotel room, opens it and exits. 76 INT. BENS' ROOM - CLOSEUP - BEN - DAY SOUND of DOOR closing. Follow Ben as he gets up and moves to the windows of what is now his BEDROOM in the Braddock house. He opens the closed blinds over the window. The sun is bright outside. His bathing suit is on the window sill. He takes the suit and puts it on. He moves to the bedroom door, opens it and goes out. 77 OMITTED 78 EXT. BRADDOCK BACKYARD AND POOL AREA - DAY We see Mrs. Braddock in the kitchen. Ben comes through the back door, moves to the pool and dives in. The raft floats in the center of the pool. 79 SHOT - UNDERWATER Ben swims toward us the length of the pool. 80 SHOT - AT THE WATERLINE Ben surfaces and, in one movememt, pulls himself up on the raft and - CUT TO: 81 INT. TAFT HOTEL ROOM - NIGHT - lands on top of Mrs. Robinson on the bed. He stays on top of her for a moment. MR. BRADDOCK'S VOICE Ben - what are you doing? Ben turns toward us and looks. CUT TO: 82 EXT. BRADDOCK BACKYARD AND POOL AREA - DAY SHOT - POV OF BEN ON RAFT Mr. Braddock standing by the side of the pool. The sun is behind him. BEN'S VOICE Well - I would say that I'm just drifting. CUT TO: 83 SHOT - BEN ON RAFT BEN - here - in the pool. MR. BRADDOCK Why? BEN Well - it's very comfortable - just to drift here. MR. BRADDOCK Have you thought about graduate school? BEN No. MR. BRADDOCK Would you mind telling me then - what were those four years of college for? What was the point of all that hard work? BEN You got me. MR. BRADDOCK (trying unsuccessfully to control himself) Now listen, Ben. I think it's a very good thing that a young man - after he's done some very good work - should have a chance to relax and enjoy himself, and lie around, and drink beer and so on. But after a few weeks I believe that person would want to take some stock in him- self and his situation and start to think about getting off his ass. Mrs. Braddock steps in beside Mr. Braddock. MRS. BRADDOCK The Robinson's are here. Mr. Robinson steps in beside the others. They blot out the sun. MR. ROBINSON Hi, Ben. What are you doing with yourself these days? BEN Oh - not too much. Taking it easy. MR. ROBINSON That's what I'd do if I could. Nothing wrong with that. Hey Ben, Elaine's coming down from Berkeley soon. I want you to call her up this time. BEN I will. MR. ROBINSON Because I just think you two would hit it off real well together. Mrs. Robinson steps in beside them. (A long pause) MRS. BRADDOCK Say hello to Mrs. Robinson, Benjamin. 84 SHOT - BEN BEN Hello, Mrs. Robinson. MRS. ROBINSON Hello, Benjamin. DISSOLVE TO: 85 INT. BEN'S ROOM - NIGHT Ben, halfway dressed to go out, in slacks, shirt and tie, sits in a chair. The door opens and Mrs. Braddock enters. MRS. BRADDOCK Can I talk to you a minute? BEN Sure. MRS. BRADDOCK Benjamin? I'm going to ask you something but you don't have to tell me if you don't want. BEN What? MRS. BRADDOCK Well I'm going to ask you what you do when you go off at night. BEN When I go off? MRS. BRADDOCK You don't have to tell me if you don't want. BEN No, I do. I want to tell you. There is a pause. BEN I drive around. MRS. BRADDOCK What else? BEN Nothing else. MRS. BRADDOCK Well you don't drive around from midnight until noon the next day, Benjamin. BEN Oh, no. MRS. BRADDOCK Then what do you do? Do you meet someone? BEN Meet someone? She nods. BEN Why did you say that? MRS. BRADDOCK Well this is your business, Benjamin. (she starts toward the door) If you - BEN No wait. Wait. She stops. BEN I don't meet anyone, mother, but why did you say that? MRS. BRADDOCK Benjamin, I'm not going to pry into your affairs, but I'd rather you didn't say anything at all than be dishonest. Goodnight, Benjamin. BEN Well, wait. She looks at him. BEN You think I'm being dishonest? She nods. BEN Well why do you - why do you think that? MRS. BRADDOCK Because I know you don't drive around for twelve hours. BEN Oh. Well, I don't. Shall I tell you what I do? MRS. BRADDOCK Not if you don't want to. BEN I do. MRS. BRADDOCK But I don't want you to make up something. BEN I'm not. But I'm - I'm not very proud of what I do. I usually get kind of drunk. I usually drive over to Los Angeles and go to some bars and get kind of drunk. Then I take a hotel room. So I won't have to drive home on the freeway. I mean it kind of scares me to drive home after - MRS. BRADDOCK Goodnight, Benjamin. BEN You believe me, don't you? MRS. BRADDOCK No. BEN You don't? She shakes her head. BEN But I want you to. Please. Please will you believe me. 85A SHOT - MRS. BRADDOCK MRS. BRADDOCK (she exits) Goodnight. BEN'S VOICE Wait a minute. CUT TO: 86- 90 OMITTED 91 INT. TAFT HOTEL ROOM - NIGHT - SHOT - BEN Mrs. Robinson's hands are undoing his necktie. Ben is dressed as in previous scene, plus a jacket. BEN Wait a minute. (he pushes her hand away) Sit down a minute. Mrs. Robinson looks at him and raises her eyebrows. BEN Will you please sit down a minute. Mrs. Robinson walks to the bed and sits. She reaches down to take off a shoe. BEN Will you leave that shoe on for a minute. Please. She straightens up. BEN Now - do you think we could say a few words to each other first this time? MRS. ROBINSON If you want. BEN Good. I mean are we dead or something? MRS. ROBINSON Well I just don't think we have much to say to each other. BEN All we ever do is come up here and throw off the clothes and leap into bed together. MRS. ROBINSON Are you tired of it? BEN I'm not. No. But do you think we could liven it up with a few words now and then? MRS. ROBINSON Well what do you want to talk about? BEN Anything. Anything at all. MRS. ROBINSON Do you want to tell me about some of your college experiences? BEN Oh my God. MRS. ROBINSON Well? BEN Mrs. Robinson. If that's the best we can do let's just get the god- damn clothes off and -- She reaches for her shoe. BEN Leave it on! Now we are going to do this thing. We are going to have a conversation. Think of another topic. MRS. ROBINSON How about art. BEN Art. That's a good subject. You start it off. MRS. ROBINSON You start it off. I don't know anything about it. BEN Oh. MRS. ROBINSON Don't you? BEN Yes I do. I know quite a bit about it. MRS. ROBINSON Go ahead then. BEN Art. Well what do you want to know about it. She shrugs. BEN Are you interested more in modern art or more in classical art. MRS. ROBINSON Neither. BEN You're not interested in art? MRS. ROBINSON No. BEN Then why do you want to talk about it? MRS. ROBINSON I don't. Ben nods and looks at the rug. MRS. ROBINSON Can I take off my clothes now? BEN No. Think of another topic. Tell me what you did today. MRS. ROBINSON Do you really want me to? BEN Yes I do. MRS. ROBINSON I got up. Ben starts shaking his head. MRS. ROBINSON Do you want to hear it or not? BEN Yes. But you might try and spice it up with a little originality. MRS. ROBINSON I got up. I ate breakfast and went shopping. During the after- noon I read a novel. BEN What one. MRS. ROBINSON What? BEN What novel did you read. MRS. ROBINSON I don't remember. Ben nods. MRS. ROBINSON Then I fixed supper for my husband and waited until - BEN There! MRS. ROBINSON What? BEN Your husband! Mrs. Robinson! There's something we could have a conversation about. MRS. ROBINSON Him? BEN I mean everything. I don't know anything about how you - how you work this. I don't know how you get out of the house at night. I don't know the risk involved. MRS. ROBINSON There isn't any. BEN There's no risk? She shakes her head. BEN How do you get out of the house? MRS. ROBINSON I walk out. BEN You walk right out the door. She nods. BEN What do you say to him? MRS. ROBINSON He's asleep. BEN Always? MRS. ROBINSON Benjamin, this isn't a very interesting topic. BEN Please. Now tell me. How do you know he won't wake up sometime and follow you. MRS. ROBINSON Because he takes sleeping pills. He takes three sleeping pills every night at ten o'clock. BEN But what about the noise from the car. What if - MRS. ROBINSON The driveway's on my side of the house. BEN (smiling) We're talking. MRS. ROBINSON What? BEN We're talking, Mrs. Robinson. We're talking. MRS. ROBINSON Calm down, Benjamin. BEN Now let's keep going here. MRS. ROBINSON Can I undress and talk at the same time? BEN Right. MRS. ROBINSON Thank you. BEN Now. You say the driveway's on your side of the house. So I guess you don't sleep in the same room. MRS. ROBINSON We don't. BEN So you don't - I mean I don't like to seem like I'm prying but I guess you don't sleep together or anything. MRS. ROBINSON No we don't. BEN Well how long has this been going on. MRS. ROBINSON (looking at the ceiling for a moment) About five years. BEN Oh no. Are you kidding me? MRS. ROBINSON No. BEN You have not slept with your husband for five years? MRS. ROBINSON Now and then. He geats drunk a few times a year. BEN How many times a year. MRS. ROBINSON On New Year's Eve. Sometimes on his birthday. BEN Man, is this interesting. MRS. ROBINSON Is it? BEN So you don't love him. You wouldn't say you - MRS. ROBINSON We've talked enough, Benjamin. BEN Wait a minute. So you wouldn't say you loved him. MRS. ROBINSON Not exactly. BEN But you don't hate him. MRS. ROBINSON No, Benjamin. I don't hate him. Unhook my blouse. BEN (unhooking her blouse) Well how do you feel about him, then? MRS. ROBINSON I don't. BEN Well that's kind of a bad situation then, isn't it? MRS. ROBINSON Is it? BEN I mean it doesn't sound like it could be much worse. If you hated him at least you'd hate him. She nods and takes off her blouse. BEN Well you loved him once, I assume. When you first knew him. MRS. ROBINSON No. BEN What? MRS. ROBINSON I never did, Benjamin. Now let's - BEN Well, wait a minute. You married him. She nods. BEN Why did you do that? MRS. ROBINSON (taking off her stockings) See if you can guess. BEN Well I can't. MRS. ROBINSON Think real hard, Benjamin. BEN I can't see why you did, unless ...you didn't have to marry him or anything, did you? MRS. ROBINSON Don't tell Elaine. BEN Oh no. You had to marry him because you got pregnant? MRS. ROBINSON Are you shocked? BEN Well I never thought of you and Mr. Robinson as the kind of people who... MRS. ROBINSON All right. Now let's get to bed. BEN Wait a minute. Wait a minute. So how did it happen? MRS. ROBINSON What? BEN I mean do you feel like telling me what were the circumstances? MRS. ROBINSON Not particularly. BEN Was he a law student at the time? She nods. BEN And you were a student also. MRS. ROBINSON Yes. BEN At college. MRS. ROBINSON Yes. BEN What was your major? MRS. ROBINSON Why are you asking me all this? BEN Because I'm interested, Mrs. Robinson. Now what was your major subject at college? MRS. ROBINSON Art. BEN Art? She nods. BEN But I thought you - I guess you kind of lost interest in it over the years then. MRS. ROBINSON Kind of. BEN Well how did it happen? MRS. ROBINSON How do you think. BEN I mean did he take you up to his room with him? Did you go to a hotel? MRS. ROBINSON Benjamin, what does it possibly matter? BEN I'm curious. MRS. ROBINSON We'd go to his car. BEN Oh no. In the car you did it? MRS. ROBINSON I don't think we were the first. Ben thinks for a moment. BEN What kind of car was it? MRS. ROBINSON What? BEN Do you remember the make of the car? MRS. ROBINSON Oh my God. BEN Really. I want to know. MRS. ROBINSON It was a Ford, Benjamin. BEN (jumping up) A Ford! A Ford! Goddamnit, a Ford! That's great! MRS. ROBINSON That's enough. BEN So old Elaine Robinson got started in a Ford. There is a pause. MRS. ROBINSON Don't talk about Elaine. BEN Don't talk about Elaine? MRS. ROBINSON No. BEN Why not? MRS. ROBINSON Because I don't want you to. She walks to the bed. BEN Well why don't you? She pulls the bedspread down. Ben begins to remove his jacket. BEN I wish you'd tell me. MRS. ROBINSON There's nothing to tell. BEN Well why is she a big taboo subject all of a sudden? Mrs. Robinson uncovers one of the pillows. BEN Well - I guess I'll have to ask her out on a date and find out what's -- MRS. ROBINSON Benjamin, don't you ever take that girl out. Ben looks at her. MRS. ROBINSON Do you understand that? BEN Well look. I have no intention of taking her out. MRS. ROBINSON Good. BEN I was just kidding around. MRS. ROBINSON Good. BEN But why shouldn't I? MRS. ROBINSON I have my reasons. BEN Then let's hear them. MRS. ROBINSON No. BEN Let's hear your reasons, Mrs. Robinson. Because I think I know what they are. She pulls the covers down. BEN I'm not good enough for her to associate with, am I? I'm not good enough to even talk about her, am I? MRS. ROBINSON Let's drop it. BEN We're not dropping it. Now that's the reason, isn't it? I'm a dirty degenerate, aren't I? I'm not fit to - MRS. ROBINSON Benjamin? BEN I'm good enough for you but I'm too slimy to associate with your daughter. That's it, isn't it? ISN'T IT? MRS. ROBINSON Yes. BEN You go to hell. You go straight to hell, Mrs. Robinson. Do you think I'm proud of myself? Do you think I'm proud of this? MRS. ROBINSON I wouldn't know. BEN Well, I'm not. MRS. ROBINSON You're not. BEN No sir. I am not proud that I spend my time with a broken- down alcoholic! MRS. ROBINSON I see. BEN And if you think I come here for any reason besides pure boredom, then you're all wrong. She nods. BEN Because - Mrs. Robinson this is the sickest, most perverted thing that ever happened to me. And you do what you want but I'm getting the hell out. MRS. ROBINSON Are you? BEN You're goddamn right I am. He starts putting on his shirt. She sits on the edge of the bed and watches him. MRS. ROBINSON That's how you feel about me. He nods. MRS. ROBINSON That I'm a sick and disgusting person. BEN Now don't start this. MRS. ROBINSON What? BEN Don't start acting hurt. MRS. ROBINSON Don't you expect me to be a little hurt? BEN Mrs. Robinson, you stand there and tell me I'm not good enough for your daughter. MRS. ROBINSON Did I say that? BEN Of course you did. She shakes her head. MRS. ROBINSON Benjamin, I want to apologize to you if that's the impression you got. BEN Well two minutes ago you told me I wasn't good enough for your daughter. Now you say you're sorry I got that impression. MRS. ROBINSON I didn't mean it. I don't think you'd be right for each other. But I would never say you weren't as good a person as she is. BEN You wouldn't. MRS. ROBINSON Of course I wouldn't. Mrs. Robinson walks to the closet. BEN What are you doing? MRS. ROBINSON Well it's pretty obvious you don't want me around any more. BEN Well look - I was kind of upset there. I'm sorry I said those things. MRS. ROBINSON If that's how you feel - BEN But it's not. MRS. ROBINSON (smiling at him) That's all right. I think I can understand why I'm disgusting to you. BEN Oh no. Look - I like you. I wouldn't keep coming here if I didn't like you. MRS. ROBINSON But if it's sickening for you - BEN It's not! I enjoy it! I look forward to it. It's the one thing I have to look forward to. MRS. ROBINSON You don't have to say that. BEN Well I wouldn't. I would never say it if it wasn't true. MRS. ROBINSON May I stay then? BEN Yes. Please. I want you to. MRS. ROBINSON Thank you. BEN Well don't thank me, because I want you to. There is a long pause. MRS. ROBINSON But you won't ever take out Elaine, will you? I want you to promise me that. There is another long pause. BEN Look. Why the hell did you bring this up. It never occured to me to take her out. MRS. ROBINSON Then give me your word you won't. BEN This is absurd. MRS. ROBINSON Promise me, Benjamin. BEN All right, for christ's sake. I promise I will never take out Elaine Robinson. MRS. ROBINSON Thank you. (pause) Benjamin - BEN Let's not talk about it. Let's not talk at all. At opposite sides of the room, without looking at each other, they begin to take off their clothes. FADE OUT FADE IN 92 INT. BRADDOCK KITCHEN - DAY Ben sits at the table, eating his breakfast and looking at the back of a cereal box. Mr. and Mrs. Braddock are there. MR. BRADDOCK Elaine's back from school. I think it might be a nice gesture if you asked her out. Benjamin looks at his father for a moment, then continues eating and reading. CUT TO: 93 INT. BEN'S ROOM - DAY Ben is lying on his bed. Mrs. Braddock stands in the doorway. MRS. BRADDOCK Don't you think that she's a terribly attractive girl? Because I think she's one of the prettiest girls I've ever seen. Ben gives a small whimper. CUT TO: 94 EXT. BRADDOCK BACKYARD AND POOL AREA - DAY Ben is lying face down on his raft in the middle of the Braddock pool. The sun shines down. His diving mask is on over his eyes. His face is in the water, looking down at the bottom of the pool. Mr. and Mrs. Braddock, in their bathing suits, are in the pool, paddling around Ben. During the entire conversation they continue to swim around and around the raft, trying to talk and keep their heads above the surface. MRS. BRADDOCK It's pretty embarrassing. I really don't know what to tell Mr. Robinson. It's ackward and strained for me every time he suggests that you call up Elaine. BEN Next time he suggests it, I'll tell him I have no intention of ever calling her up in my life. MR. BRADDOCK I guess she's not good enough for you, is that it? BEN Look - Elaine Robinson and I do not get along. MR. BRADDOCK How do you know? You haven't seen her since high school. I guess your evenings, whatever you do with them, are just too valuable. BEN That has nothing to do with it - MR. BRADDOCK I guess I'll just tell Mr. Robinson that you're just too busy every evening - doing God knows what - MRS. BRADDOCK Don't go on like this. Now if Benjamin absolutely refuses to take her out - BEN I do. MRS. BRADDOCK - then I'll simply invite all the Robinsons' over for dinner on Thursday. 95 SHOT - BEN He slides off the raft and goes underwater. 96 SHOT - BEN UNDERWATER His hair streaming up, his eyes open. CUT TO: 97 INT. SPECIAL SET BRADDOCK DINING ROOM - NIGHT The dining room is one tenth its normal size. At a table for two are seated, jammed in against each other, the three Robinsons and the three Braddocks. Elaine's back is to us. Ben is at the other end of the table, facing us. The Robinsons and Braddocks sit along the sides. Mrs. Robinson is next to Ben, everyone is eating, looking down at their places. After a few moments Ben throws his head back ans starts to scream. As he continues to scream, everyone looks at him except Mrs. Robinson who continues to eat calmly without looking up. CUT TO: 98 EXT. BRADDOCK BACKYARD AND POOL AREA - DAY Ben surfaces and pulls himself up on the side of the pool. BEN I'll go call Elaine now. Mr. and Mrs. Braddock cling exhausted to the raft and try to smile at each other. SOUND: Ding dong of the Robinson door chimes. CUT TO: 99 EXT. & INT. ROBINSON FRONT DOOR, HALL AND SUNROOM - NIGHT The door opens. Mr. Robinson stands there with a huge smile. MR. ROBINSON Well, Braddock - it's about time you got around to this. Come on in. I'm afraid the young lady isn't quite ready yet - Mr. Robinson turns toward the sunroom. Mrs. Robinson is sitting there. BEN Hello. MR. ROBINSON What would you say to a short one? Bourbon still your drink? BEN Yes. Mr. Robinson hands him drink. MR. ROBINSON I'll see if she's ready. Mr. Robinson exits. 100 SHOT - BEN AND MRS. ROBINSON NOTE Following dialogue played simultaneously BEN MR. ROBINSON'S VOICE Now listen -- this was not (from hall) my idea. It was my father's Hey -- there she is. Miss idea. America -- that's who it is. It's definitely Miss America. MRS. ROBINSON Benjamin -- I thought I made ELAINE'S VOICE myself perfectly clear about Daddy - can you fix this? this. The clasp is broken I think. BEN MR. ROBINSON'S VOICE (whispering urgently) I'll do it - I'll do it. Look, we'll go out to dinner and have a drink and I'll ELAINE'S VOICE bring her back. Because it Is Ben here? was either that or a dinner party for the two families. MR. ROBINSON'S VOICE And I'm afriad I couldn't He's in the living room having quite handle that, if you a chat with your mother. don't mind. I have no intention of ever taking your precious daughter out again in her life. So don't get upset about it. MRS. ROBINSON But I am. I'm extremely upset about it, Benjamin. Mr. Robinson and ELAINE enter. ELAINE Hello. BEN Hello. 101 CLOSEUP - MRS. ROBINSON MR. ROBINSON'S VOICE Well - I want you to keep your wits about you tonight. You never know what tricks Ben picked up back there in the East. LAP DISSOLVE TO: 102 EXT. FREEWAY - NIGHT SHOT - BEN AND ELAINE in Ben's car. From the back. Ben leans forward slightly, pushing the car recklessly in and out of the traffic. Ben is wearing dark glasses. ELAINE You're living at home now. Is that right? BEN Yes. ELAINE Do you know what you're going to do? BEN No. ELAINE Are you going to graduate school? BEN No. He leans on the HORN. The car directly ahead of him does not move to the right. Ben jerks his car over to the right, swerves around the car ahead, jamming his horn down, and swerves back into the outside lane, giving the driver of the other car an angry look as he passes him. Elaine holds on to the dashboard to keep her balance. ELAINE Do you always drive like this? BEN Yes. CUT TO: 103 INT. RESTAURANT - NIGHT A drab, almost deserted room with formally dressed WAITERS. Ben and Elaine are seated at a table. BEN Do you want some dinner? ELAINE I'd love some. A waiter moves forward toward them. BEN Bring a menu. WAITER #2 Dinner for two, sir? BEN No. Just for her. The waiter moves away. ELAINE Aren't you eating? BEN No. ELAINE Why not? BEN If it's all right with you, I'm not hungry. The waiter returns with a menu. ELAINE I've changed my mind. Thank you. CUT TO: 104 EXT. SUNSET STRIP - NIGHT - SHOTS Ben and Elaine walking on the strip. 105 EXT. STRIP JOINT - NIGHT Ben pushes through the people crowded in around the entrance. Without turning around, he waits for Elaine who has difficulty following him. As she gets to him, he starts forward again. He starts up the stairs. Elaine is just behind him. CUT TO: 106 INT. STRIP JOINT - NIGHT Seedy, ugly, three quarters filled. A tuxedoed HOOD leads them through the tables to a table directly under the stage on which a STRIPPER is in the process of removing her dress. There is one chair facing the stage, the other with its back to and up against the stage. Ben sits down in the chair facing the stage. Elaine stands for a moment, unsure. BEN Sit down. Elaine sits in the chair with her back to the stage. She folds her hands on the table and looks down at them. Ben takes a pair of dark glasses out of his pocket and puts them on. The two chairs are slightly angled toward each other so that Ben can look up at the stage without looking directly at Elaine. BEN Why don't you watch the show? The stripper is reflected in Ben's glasses. ELAINE Benjamin - do you dislike me for some reason? BEN No - why should I? ELAINE I don't know. 107 SHOT - ACROSS BEN - THE STRIPPER She is down to a tasseled bra and g-string. She is twirling the tassels. BEN You're missing a great effect here. Elaine turns around, looks at the stripper and turns back. BEN How do you like that? Elaine doesn't answer. BEN Could you do it? ELAINE No. The stripper sees Elaine look. The stripper smiles toward Ben and walks toward his table, twirling the tassels as she walks. Ben smiles as he watches her approaching. The stripper moves directly behind Elaine's chair. The spotlight from the back of the house falls into Elaine's face. As it does, Elaine puts her hand up to shield her eyes. The stripper slides a finger into her mouth, wets it and holds it up in the air. The music stops and a DRUM ROLL starts. The stripper bends over Elaine's head and begins swinging the tassels so that they rotate in front of Elaine's face. 108 SHOT - BEN He leans forward slightly to watch the action. The swinging tassels are reflected in his glasses. The DRUM ROLL gets louder and faster. The tassels swing more frantically. 109 SHOT - ELAINE She pulls her hand down from in front of her eyes. 110 SHOT - BEN With Elaine's face reflected in his glasses. 111 SHOT - ELAINE Through Ben's glasses. Elaine's face seen darkly but fully for the first time. The tassels swing in front of it. Tears start out of her eyes. 112 SHOT - BEN He reaches up to remove the glasses. 113 SHOT - ELAINE As the glasses come off and her face is seen in the harsh spill from the spotlight. The tears are running down her face. Only her eyes are crying as she looks straight at Ben. 114 SHOT - BEN With his glasses off, he watches her. He reaches forward and puts his hand in the way of the tassels. STRIPPER Hey! Some of the customers start to boo. Ben rises, takes Elaine's arm and leads her toward the exit. CUT TO: 115 EXT. STRIP JOINT - NIGHT The entrance to the strip joint. Elaine runs to the bottom of the steps. The Sunset Strip sidewalk outside is crowded with people moving back and forth. Ben follows her. She pushes through the crowd on the sidewalk. Ben catches her and holds her arm. BEN Elaine - I'm sorry. Elaine leans against the side of the building and pulls her arm away. ELAINE Will you take me home now? BEN I'm sorry I took you in there. ELAINE I think I'd better go home now please. BEN But, Elaine - ELAINE Where is the car? BEN I just want to tell you something. Ben, facing her, keeps moving from side to side, trying to get her to look at him. She keeps looking away. ELAINE I want to go home. BEN But could I just tell you this one thing? ELAINE What? BEN This whole idea - this date and everything. It was my parents' idea. They forced me into it. ELAINE Oh - that's very nice of you to tell me. BEN No. What I mean is - that's why I've been acting this way. I'm not like this. I hate myself like this. She starts to cry. People on the sidewalk are looking at them. She turns away from them. Ben moves away from them. Ben moves around in front of her. BEN Listen - could you stop crying, please? ELAINE No, I couldn't. BEN But could you try? ELAINE No. She brings both hands up to her face. Ben looks at her for a few moments in agony. Then, very determined, he takes her wrists in his hands and pulls them away from her face. She looks up startled. She starts to give a little cry but before she can he is kissing her. She closes her eyes. He brings his fists, containing her hands, up to the side of her face. He opens his hands against her face, freeing her hands. Her hands move slowly to his wrists and hang on. After a while she pulls away, turning her head slightly to one side. BEN Elaine - He starts to pull her head back. ELAINE Not here. Not here. DISSOLVE TO: 116 EXT. DRIVE IN RESTAURANT - NIGHT Ben and Elaine are sitting in the car in a drive-in restaurant. There are trays hooked onto windows along side of both of them. They are eating and drinking furiously. BEN I've had this feeling - ever since I've graduated - this - kind of compulsion that I have to be rude all the time. Do you know what I mean? ELAINE Yes, I do. He looks at her. BEN It's like I've been playing some kind of - game - but the rules don't make any sense to me - She is watching him carefully. BEN - they're being made up by all the wrong people - no - I mean no one makes them up, they seem to have made themselves up. A car with a COUPLE OF TEENAGERS has driven up in the slot on their right. Its RADIO is tuned into a rock and roll station and it is playing LOUDLY. Ben leans across Elaine and speaks through the window to the kid behind the wheel. BEN Say - I wonder if I could request you to turn that down a little? The kid turns the radio up. Ben and Elaine roll their windows up. 117 SERIES OF SHOTS From outside of car. Ben is talking with great animation - Elaine is watching him. They are both eating as Ben talks, telling Elaine a story. Their windows are rolled up. SOUNDS: Cars GUNNING their ENGINES; horns HONKING; radios PLAYING; waitresses YELLING orders; customers YELLING at waitresses; kids LAUGHING and TALKING from car to car; MOTORCYCLES driving in and out, TRAFFIC. CUT TO: 118 EXT. ROBINSON HOUSE - NIGHT The car coasts silently to a stop in front of the Robinson house. The RADIO plays QUIETLY. Ben turns it OFF. They sit there for a long time without saying anything, Ben's hand touching her shoulder. It is very quiet. ELAINE Well - maybe I'd better go in. He nods. They continue to sit there for another long moment. ELAINE Would you like to come in? I could make some coffee. BEN No, I mean - I wouldn't want to wake anyone up. ELAINE We won't. Let's go inside. BEN Wait a minute. ELAINE Is anything wrong? BEN No - I was just thinking - look - it's still early - we could do something - go somewhere else. ELAINE All right. He starts the car immediately and drives away from the house. 119 INT. BEN'S CAR - NIGHT Ben is driving. ELAINE Where we going? BEN I'm trying to think of where there's a place to have a drink around here. ELAINE Isn't there one in the Taft Hotel? There is a SQUEAL of TIRES as Ben almost drives off the road. ELAINE What is the matter? BEN Nothing. I'm just wondering if they have a bar or not. I mean let's go see. Let's go see if they do or not. 120 INT. TAFT HOTEL LOBBY - NIGHT Ben and Elaine enter the lobby and stand just inside the door. They start in a few steps. BEN Listen, Elaine - it seems to me that there isn't a bar in here. I mean - as far as I know. ELAINE Of course there is. Look - The Veranda Room - right there. ONE of the CAR PARKERS passes them on his way out. CAR PARKER Good evening. CAMERS BEGINS TO PULL UP AND AWAY. A BELLBOY passes them. BELLBOY Hello, how are you, sir? The room clerk smiles at them. ROOM CLERK Good evening, Mr. Gladstone. Ben and Elaine stop a few feet into the center of the lobby. The CAMERA PULLS BACK to a HIGH OVERHEAD SHOT revealing many people moving back and forth in the lobby, passing Ben and Elaine. VOICE #1 Hello again. VOICE #2 Hi, Mr. Gladstone. How are you this evening? ELAINE Benjamin - BEN Let's get out of here, Elaine. Let's go somewhere else. ELAINE Benjamin - do they know you? BEN Of course not. VOICE #3 Good evening, sir. VOICE #4 Mr. Gladstone - how are you? He moves her toward the door. BEN Come on, Elaine. We're leaving. CUT TO: 121 EXT. TAFT HOTEL Ben brings Elaine through the door to the porch. ELAINE Ben - what's happening? Who is Mr. Gladstone? BEN I don't know. They must think I look like this guy Gladstone. PAN WITH THEM as they start down the steps. Coming up the steps toward them is Miss DeWitte, on the arm of another ELDERLY LADY. MISS DeWITTE Hello, Mr. Brannif. SOUND: Car STARTING noisily. 122 EXT. TAFT HOTEL DRIVEWAY - NIGHT Ben and Elaine in his car. He takes his hand off the ignition, jams on the accelerator and drives the car speedily for twenty-one feet and jams on the brakes. He turns off the ignition and the lights. He puts his head down on the steering wheel. He lifts his head. BEN Elaine - I like you. I like you so much. Do you believe that? She nods. BEN Do you? ELAINE Yes. BEN You're the first - you're the first thing for so long that I've liked. The first person I could stand to be with. She takes his hand. BEN I mean my whole life is such a waste. It's just nothing. I'm sorry. I'll take you home now. He turns the key in the ignition and starts the car. ELAINE Benjamin - are having an affair with someone? He freezes with his hand still on the key. ELAINE I'm sorry. He turns off the engine. ELAINE I'm sorry. That is not my business. BEN It just happened. It was just this thing that happened along with everything else. Can you understand that? She nods. ELAINE Was she married or something? BEN Yes. ELAINE With a family? BEN Yes. She had a husband and a son. ELAINE Did they ever find out? BEN No. ELAINE And it's all over now. BEN Yes. ELAINE I'm glad. He starts the car and drives out. 123 EXT. ROBINSON HOUSE - NIGHT - SHOT - BEN AND ELAINE IN BEN'S CAR BEN Can we do something tomorrow? ELAINE All right. BEN During the day? We'll go for a drive or something. ELAINE Okay. BEN You sure you really want to? ELAINE Yes. BEN Because I wouldn't want you to do it unless you really wanted to! ELAINE I do. BEN You do? ELAINE Benjamin - I really do. DISSOLVE TO: 124 EXT. STREET NO. 1 - NEAR ROBINSON HOUSE - DAY SHOT - INT. BEN'S CAR - BEN DRIVING It is raining. On the seat beside Ben is a package. From the way it is wrapped, we can tell it is a gift. Ben's right hand is on it as he drives. The radio is playing. Past Ben and through the windsheild as the Robinson house comes closer and closer. The front door of the Robinson house opens and Mrs. Robinson comes out, dressed in a housecoat, and, in four or five fast steps, reaches the car, opens the door on the passengers side and climbs in. Ben moves the package over into his lap. MRS. ROBINSON Drive down the block. BEN Mrs. Robinson - I have a date with Elaine. We're going for a drive. MRS. ROBINSON (looking at him for the first time) Do exactly what I say. Ben starts the car forward down the driveway. 125 ANOTHER ANGLE - BEN AND MRS. ROBINSON As they drive. BEN Now it seems to me - MRS. ROBINSON Listen to me very carefully, Benjamin. You are not to see Elaine again. Ever. Those are my orders. Is that clear? Ben stops the car in front of a house halfway down the block. BEN Mrs. Robinson - MRS. ROBINSON I can makes things quite unpleasant. BEN How? MRS. ROBINSON In order to keep Elaine away from you - I am prepared to tell her everything. BEN I don't believe you. MRS. ROBINSON Then you'd better start believing me. BEN Mrs. Robinson, don't wreck it. I'm asking you please not to wreck it. MRS. ROBINSON Go home now. BEN I just don't believe you would do that. Mrs. Robinson looks at him for a moment. MRS. ROBINSON Try me. There is a pause while Ben looks at her expression. Then he grabs the keys out of the ignition, opens the door on his side and jumps out of the car, carrying the package. TRACK WITH BEN as he runs up the street and up the drive- way toward the Robinson house. Ben gets to the front door. BEN (as he goes through the door) Elaine! 126 INT. ROBINSON HALLS, STAIRS, DOOR TO ELAINE'S ROOM - DAY Ben runs in. BEN Elaine? ELAINE'S VOICE Benjamin? BEN I'm coming up. ELAINE'S VOICE I'm not dressed yet. Ben runs up the stairs. He still carries the package. Ben gets to the top just as Elaine comes out of the door to her bedroom. She is wearing a skirt and slip and carrying one shoe. ELAINE Benjamin - I said I wasn't dressed - Ben pushes her back into her room. 127 INT. ELAINE'S ROOM - DAY ELAINE What's the matter? BEN You've got to go over the back fence and I'll meet you on the corner. ELAINE Benjamin - what's happening? BEN Hurry up. Put your shoes on. Ben turns and looks. 128 SHOT - OVER BEN'S SHOULDER Mrs. Robinson is just entering the house. BEN NO. He turns around. 129 NEW ANGLE Elaine is standing in the doorway watching him. She still holds the shoe in her hand. BEN Why aren't you ready? ELAINE Because I want to know what's happening. SOUND of Mrs. Robinson's FOOTSTEPS in the hall below. BEN There isn't time! 130 INT. ELAINE'S ROOM - DAY Ben pulls Elaine around behind the open door. They stand in the angle formed by the door and the wall as though they are hiding from someone. Mrs. Robinson's FOOTSTEPS can be heard coming up the stairs. BEN Elaine - I have to tell you something. He holds her against the wall in the corner. ELAINE What is it? BEN That woman - ELAINE What? BEN That woman. The older woman. ELAINE You mean the one who - BEN Yes. The married woman - it wasn't just some woman - Mrs. Robinson's FOOTSTEPS can be heard coming down the hall. ELAINE What are you telling me? The FOOTSTEPS stop. 131 ANGLE - CLOSE ON ELAINE Back in the corner. Mrs. Robinson's face appears in the crack in the door at Elaine's shoulder. Elaine looks from Ben's face to the crack through which she can see her mother's eyes staring. ELAINE Please - will somebody tell me - She looks back at Ben, then back at her mother's face again. Mrs. Robinson's eyes watch her through the crack in the door. Elaine looks away. ELAINE Oh - no. Ben backs up. BEN Elaine - ELAINE Oh my God - Moving along the wall as though to keep as far from Ben as possible, Elaine moves away from the door. BEN Please. Elaine walks a few steps toward the other side of the room then turns back toward Ben. The tears are starting out of her eyes. BEN No - don't cry - ELAINE GET OUT! BEN Don't cry. (holds the package out to her) ELAINE Get out of here. She moves toward him as though to hit him. He backs into the hall. Elaine SLAMS the door shut. ELAINE (holding the door) Get out! 132 INT. ROBINSON HALL - DAY Mrs. Robinson stands at the end of it, looking at Ben. MRS. ROBINSON (calmly) Goodbye, Benjamin. 133 SHOT - BENJAMIN He looks at her in horror. He starts to back down the hall toward the stairs, holding the package against his chest. 134 INT. SPECIAL SET - ROBINSON HALL - DAY - SHOT - PULLING BACK FROM MRS. ROBINSON She is standing there, perfectly calm. She gets further and further away as though it is a very long hall in a very bad dream. FADE OUT FADE IN 135 INT. BEN'S ROOM - NIGHT Ben sits cross-legged on his bed in the dark, his back against the fishtank, smoking. DISSOLVE THROUGH TO: 136 EXT. ROBINSON HOUSE - DAY Ben drives by in his car. He looks at the house. DISSOLVE TO: 137 INT. BEN'S ROOM - DAY Ben dressed differently, stands by the window overlooking the backyard. Over his shoulder, we can see Mr. Braddock down by the pool, dressed in a sweater, cleaning the pool with a long-handled scoop. Mr. Braddock looks up at Ben's window. Ben moves aside. DISSOLVE TO: 138 EXT. ROBINSON HOUSE - DAY Ben is standing behind a tree watching the Robinson house. In the driveway of the Robinson house, Elaine is getting into the Robinson car. Mr. Robinson is putting Elaine's luggage into the car. Mrs. Robinson stands at the door. Mr. Robinson gets into the car and starts it. The car drives down the driveway and down the street. DISSOLVE TO: 139 INT. BEN'S ROOM - NIGHT Ben, dressed differently again, sits in a chair by his desk. He is writing. On the piece of paper is written: DEAR ELAINE, ELAINE, ELAINE, ELAINE, and her name several dozen times. He stops and looks up. DISSOLVE TO: 140 INT. BRADDOCK KITCHEN - DAY It is early morning. We see a swinging door pushed open to reveal: Mr. Braddock, dressed in a bathrobe, standing at the kitchen counter by the window through which we can see an orange tree. Mr. Braddock is pouring orange juice from a MINUTE MAID container. Ben stands inside door. MR. BRADDOCK Say that again. BEN I'm going to marry Elaine Robinson. MR. BRADDOCK STARTS TO SMILE. MR. BRADDOCK Well - well - well - He almost giggles as he crosses to Ben and takes his hand to shake it. Mrs. Braddock appears in the doorway. Ben is shaking his father's hand. MRS. BRADDOCK What's happening? MR. BRADDOCK Ben says he and Elaine are getting married. MRS. BRADDOCK I don't believe it. MR. BRADDOCK That what he says. Right? BEN I'm going up to Berkeley today. MRS. BRADDOCK Oh, Ben - this is so - exciting - MR. BRADDOCK Come on, let's call the Robinsons. We've got something to celebrate. BEN No. I think you'll want to wait on that. MRS. BRADDOCK They don't know? BEN No - they don't. MRS. BRADDOCK Well - when did you decide all this? BEN About an hour ago. MR. BRADDOCK Wait a minute. You talked to Elaine this morning? BEN No. She doesn't know about it. MR. BRADDOCK She doesn't know that you're coming up to Berkeley? BEN No. Actually - she doesn't know about us getting married yet. MRS. BRADDOCK When did you two talk this over? BEN We haven't. MR. BRADDOCK Ben - this whole idea sounds pretty half-baked. BEN No - it's not. It's completely baked. It's a decision I've made. MRS. BRADDOCK But what makes you think she wants to marry you? Ben picks up his suitcase, walks to the door and turns. BEN She doesn't. To be perfectly honest, she doesn't like me. DISSOLVE TO: 141 EXT. ROAD NO 1 TO BERKELEY - DAY Ben driving his car (left to right) BEN'S VOICE (over) Dear Elaine - I am now visiting Berkeley, after growing somewhat weary of family life. I have been meaning to stop by and pay my respects but am not entirely certain just how you feel about seeing me after the incident involving myself and your mother. It was certainly a serious mistake on my part but not serious enough. I hope -- The last part runs down like a record on an old gramaphone. CUT TO: 142 EXT. ROAD NO. 2 - TO BERKELEY - DAY Ben driving his car (left to right) BEN'S VOICE (over) Mr. and Mrs. G. L. Robinson take great pleasure in announcing the wedding of their daughter... It runs down. CUT TO: 143 EXT. GAS STATION - DAY Ben's car is being gassed up. It is a huge gas station with dozens of pumps and many neon lights. Ben runs to a series of vending machines. He pushes quarters into them, receiving cigarettes, a sandwich, an apple, a cup of coffee. Balancing them all carefully, he runs back to the car, climbs in, puts his purchases on top of the dashboard, hands the attendant a bill and drives off. CUT TO: 144 EXT. ROAD NO. 3 TO BERKELEY - DAY Ben driving (left to right) and eating. BEN'S VOICE (over) Honey - I'm home. ELAINE'S VOICE (over) Hi - Sweetheart. BEN'S VOICE (over) Where are the kids? ELAINE'S VOICE (over) Oh, they're having a wonderful time - spending the day at Mother's - she's teaching them to... It runs down. 145 EXT. ROAD NO. 4 TO BERKELEY - DAY Ben driving (left to right) BEN'S VOICE (over) Dear Mom and Dad. You may have wondered why Elaine and I haven't written in such a long time, but the postal sytem here in Greenland isn't the most efficient. Life among these wonderful natives... It runs down. CUT TO: 146 EXT. ROAD NO. 5 TO BERKELEY - DAY Ben driving (left to right) MAN'S VOICE (over) Do you, Benjamin Braddock take this woman, Mrs. Robinson, for your Mother-in-law, to love, cherish and... It runs down. CUT TO: 147 EXT. TOLL BOOTH ON THE OAKLAND BRIDGE - DAY Ben barely stops as he hands the change out the window of the low-slung sports car and up to the toll taker. CUT TO: 148 EXT. OAKLAND BRIDGE - DAY Ben driving over bridge (left to right) MRS. ROBINSON'S VOICE (over) Benjamin - you and Elaine have made such a wonderful marriage. I often laugh when I remember those nights at the Taft. BEN'S VOICE (over) Yes - how long ago that all seems. MRS. ROBINSON'S VOICE (over; chuckling) I'll never forget how peeved I was when I first... It runs down... PAN THE CAR past us and HOLD ON it as it disappears in the distance. DISSOLVE TO: 149 INT. WENDELL HALL RECEPTION AREA - DUSK CLOSE ON BEN as he comes through the door. MOVE WITH HIM as he wanders around the the commons room which is filled with STUDENTS. Girls SINGING, couples necking; a MAN with a heavy knapsack. Ben walks to a LADY RECEPTIONIST NO. 1, who sits at a reception desk. LADY RECEPTIONIST NO. 1 May I help you? BEN (too loudly) Elaine Robinson. LADY RECEPTIONIST NO. 1 Yes? BEN (clearing his throat) Elaine Robinson. Does she live here? The Receptionist runs her pencil along a list of names under the glass top of her desk. She finds it. LADY RECEPTIONIST NO. 1 Three-oh-eight. Shall I call her for you? The Receptionist's hand moves to the receiver of a phone on the desk. Ben looks at her hand for several seconds. He takes a step backward. Her hand starts to lift the receiver. Ben moves backward, puts his hand up as though to stop her and shakes his head, speechlessly. 150 SHOT - RECEPTIONIST Looking at Ben. 151 SHOT - BEN Move with him as he moves past the students toward the door. DISSOLVE THROUGH TO: 152 EXT. CAMPUS - DUSK PAN AROUND CAMPUS in a circle, ending on a CLOSEUP OF BEN, standing in the middle of the deserted campus, looking around, lost. DISSOLVE THROUGH TO: 153 INT. ROOMING HOUSE HALL AND STAIRS - NIGHT - BEN AND MR. McCLEERY From the bottom of the stairway, shooting up. MR. McCLEERY is the landlord of the rooming house. They are climbing a flight of stairs, Mr. McCleery first, then Ben, carrying his suitcase. MR. McCLEERY You a student? BEN Not exactly. Mr. McCleery stops and turns. Ben almost runs into him. MR. McCLEERY What's that? BEN I said - not exactly - no. MR. McCLEERY What are you then? BEN Well - I'm just sort of traveling through. Mr. McCleery takes a couple of steps up, Ben following and stops again. MR. McCLEERY I like to know who's living in my house. I like to know what my boys are up to. BEN Ahhh. Mr. McCleery just looks up at him. BEN I'm not up too much, actually, I'm just visiting. I mean - I've always wanted to see Berkeley. Mr. McCleery takes a couple more steps and stops again. MR. McCLEERY You're not one of those agitators? BEN What? MR. McCLEERY One of those outside agitators. BEN Oh - no sir. MR. McCLEERY I hate that. I won't stand for it. He looks at Ben searchingly, then turns and continues up the stairs and down the hall. CUT TO: 154 INT. ROOMING HOUSE - BEN'S ROOM - NIGHT PAN THE ROOM in a circle, seeing a sink in one corner, a bed, a bureau, a table, a lamp, a chair, a window that overlooks a Berkeley street - ending in a CLOSEUP OF BEN, standing in the middle of it, looking lost. CUT TO: 155 EXT. WENDELL HALL - QUADRANGLE - DAWN DAWN. The campus is empty except for Ben who, dressed carefully in his black suit, sits on a bench in the quadrangle outside of Wendell Hall. 156 EXT. WENDELL HALL QUADRANGLE - SERIES OF DISSOLVE (OR CUTS)- DAY During which Ben remains static while the quadrangle and thet area around him fill up with students; walking, talking, hurrying to class, strolling, sitting, reading, handing out petitions, etc. 157 EXT. CAMPUS BUILDING - DAY - LONG SHOT Elaine comes out. She walks, carrying her books, in Ben's direction. 158 SHOT - ELAINE He sees her and stiffens. 159 SHOT - ELAINE Approaching from the distance. 160 SHOT - BEN He stands. 161 SHOT ELAINE As she walks, she is joined by another GIRL with whom she converses as they walk. 162 SHOT - BEN Watching. He takes a step forward. 163 SHOT - ELAINE AND GIRL As they approach, they are joined by a tall BOY with a beard. 164 SHOT - BEN He starts toward them, falters, straightens himself. 165 SHOT - ELAINE, GIRL, BOY They are getting quite near. Suddenly they are joined by THREE AFRICAN EXCHANGE STUDENTS, in tribal robes. They all greet each other and continue to walk toward us. 166 SHOT - BEN He looks at the massed group moving toward him, horror taking over his face. He starts forward. As he passes Elaine and her friends he seems to take a deep breath and hold it. She stops and slowly turns to look in his direction. Her companions also stop. Ben changes his direction and makes a circle to his left as though he has just changed his mind. He looks at her. He does not stop walking. He makes a slow circle around her as he speaks. BEN Elaine. Hey - what a surprise. (not quite looking at her) Say - I thought I remembered that you were going to school up here - well - we'll have to get together sometime - I'll be up here myself for a little while. 167 SHOT - BEN'S POV Elaine and the others staring at him. 168 SHOT - BEN BEN - it certainly has been nice - I think I'm late - yes, I am - He turns and walks away from them. They stand still watching them go. He starts to walk faster and faster. They watch him as he gets further and further away and then breaks into a run. He disappears in the distance. SOUND: Footsteps running, a door opening and closing, footsteps running upstairs, a door opening and slamming. CUT TO: 169 INT. ROOMING HOUSE - BEN'S ROOM - DAY Ben leans with his back against the closed door, breathing heavily. DISSOLVE TO: 170 EXT. VARIOUS CAMPUS LOCATIONS - DAY - SERIES OF SHOTS Ben following and watching Elaine. DISSOLVE TO: 171 INT. TELEGRAPH STREET RESTAURANT - DAY Ben is sitting at a table by the window through which we can see the street. He is drinking a beer. Other tables are filled with students having animated discussions. Ben starts to pour some beer from the bottle into the glass. He stops as he sees something through the window. He leans forward. Elaine comes out of a bookstore across the street. She crosses the street and moves to a bus stop. He stands, fumbles in his pocket for money, puts a dollar on the table and rushes out. 172 EXT. RESTAURANT TELEGRAPH STREET - DAY Ben comes out of the door just as Elaine gets into a bus and the doors close behind her. The bus starts off. Ben runs after it. The bus gets to the next corner and stops for a red light. Ben catches up with it, runs to the front door and knocks on the door. The door opens and he climbs in. 173 OMITTED 174 INT. BUS NO. 1 - DAY - SHOT ELAINE She is seated next to an OLDER LADY by the window immediately in front of the rear exit door. She keeps looking out the window, almost holding her breath as she hears: BEN'S VOICE (getting closer as he moves past people toward her) Excuse me - I'm sorry - I wonder if I could get by - excuse me - There is a pause and then, immediately behind her: BEN'S VOICE (cheerfully) Well - how about this for a coincidence. 175 NEW ANGLE Ben's face is right behind Elaine, between her and the older lady sitting next to her. Ben is standing on the steps to the rear exit door. Elaine continues to look out the window. BEN (leaning in a little) I was wondering where you were headed. Elaine doesn't answer. The lady sitting next to Elaine takes a look at her, turns around and looks at Ben, then looks at Elaine again. ELAINE I'm meeting someone. BEN Ah. Where? She doesn't answer. BEN Where are you meeting this person? ELAINE At the Zoo. BEN The Zoo. They have a pretty good one here, do they? ELAINE I've never been to it. BEN Oh. Well, I haven't either. I might just ride out there with you. Hold on them riding. CUT TO: 176 EXT. ZOO - DAY Ben and Elaine are walking along in front of one of the outside animal cages. Ben is walking a step or two behind Elaine. He is darting glances to the right and left. BEN Is that him over there? ELAINE No. BEN Where did he say he was going to meet you? ELAINE I thought he said by the monkey house. BEN Oh. She stops. Ben stops. ELAINE Benjamin - I would like to know what you're doing here. BEN Here? In Berkelely? ELAINE Yes. BEN Well, I have this very pleasant room on Carter Street - and I've been getting to some classes - ELAINE But you're not enrolled. BEN No. I just sit in. They don't seem to mind. They've been very congenial about it. She looks at him and starts to shake her head. ELAINE Benjamin - you're - I don't know what to say - you're -- BEN Maybe we could get together some time and talk about it. ELAINE - really incredible - BEN Here he comes. ELAINE What? BEN I've got a real feeling that this is the fellow. Elaine looks. A good-looking young man is striding briskly toward them. It is CARL SMITH. CARL (waving) Elaine! BEN He certainly is a good walker. Carl strides up to them. He takes the pipe out of his mouth and puts it in his pocket. He reaches out and takes Elaine's hands. CARL Am I late? I'm sorry. BEN We thought you said by the monkey house. Carl frowns and looks up over Elaine's shoulder at Ben. Ben smiles. ELAINE This is Benjamin Braddock. Carl Smith. Benjamin rode here with me on the bus. CARL Glad to meet you, Ben. Ben steps forward and grasps Carl's hand. BEN Great meeting you, Carl. Carl steps back and puts an arm around Elaine's shoulder. The three of them look at each other for a moment. BEN Swell seeing you. Have a good time. Ben turns and starts walking back the way he came. Carl and Elaine turn and go in the opposite direction. Ben stops after a few steps and walks over to one of the cages. He grips the rail with his hand and looks back at: 177 SHOT - CARL AND ELAINE Walking away, his arm over her shoulder, his other hand gesturing with the pipe in it as he talks. 178 SHOT - BEN As he watches them go. His artificial smile disappears. The agony is such that he has to steady himself with his hand on the rail. He turns his face away, toward the cage. There is an animal in it, staring at Ben. They look at each other. There is a box - an automatic device with a recorded desciption of the animal - that begins to deliver its RECORDED MESSAGE. DISSOLVE TO: 179 INT. ROOMING HOUSE - BEN'S ROOM - DAY Ben is standing by the window, looking out. 180 EXT. ROOMING HOUSE - STREET - DAY SHOT - THROUGH THE WINDOW Elaine is walking up the street toward the rooming house. 181 INT. ROOMING HOUSE - BEN'S ROOM - DAY - SHOT - BEN He jumps to the other side of the window and peers out carefully. 182 EXT. ROOMING HOUSE - STREET - DAY - SHOT - THROUGH THE WINDOW Elaine turns in and disappears into the rooming house front door below. 183 INT. ROOMING HOUSE - BEN'S ROOM AND HALLWAY - DAY - SHOT BEN He runs to the bed and puts the covers back into place. He goes to the window sill, picks up an empty beer can, crosses to the bureau, opens a bureau drawer. He crosses to the wastepaper basket under the sink, bends down and takes a newspaper out of it. He crosses to the chair and sits down. He holds the newspaper in front of him. It is hopelessly crumpled. He gets up, crosses to the bureau, opens a drawer and takes out a traveling iron. He kneels down, puts the newspaper on the floor and tires to straighten it out with the iron. There is a KNOCK on the door. He rises, puts the iron back in the drawer as quietly and quickly as he can, then back to the chair, sits down and holds the newspaper on his lap. BEN Come in. There is another KNOCK. Ben crosses to the door and opens it. Elaine is standing in the hall. ELAINE I want to ask you a question. BEN Come in. ELAINE No. I wa